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natsubeatsrock · 3 years

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The Rewrite of Fairy Tail: Part 30 (Fairy Tail)

What is the purpose of the Fairy Tail guild?

This is another post that looks different from my very first draft. This was originally a collection of changes I would make regarding specific characters in the guild. However, I realized that would be useless. A lot of it would be more about how little I'd change characters. I've talked about nearly every character in the guild I would want to change already. Some of the posts I've made involving Fairy Tail characters focusing on defending them from fans.

This was going to be a much smaller focus than I originally intended. I've expanded it because I feel that this is the more interesting and important aspect of this post. It will be helpful to have this post as we talk about other minor characters in the guild. It's also worth recognizing what the guild means to bigger characters. However, I have to talk about this from a more apologetic reason for this focus that we'll get to.

A few times in this series, I've referred to the Strongest Team (or Team Natsu) as "a team of five protagonists". I've meant that each member has an arc reminiscent of a different type of protagonist in a story. The story focuses, to varying degrees, on their progress through the different arcs. For example, Phantom Lord plays with Lucy's connection to the guild and touches on Erza's view of her strength and Natsu's search for Igneel. Of course, the focus of the series, most of the time, is on Lucy and Natsu serving as the sort of Watson and Holms for their series, respectively.

However, the series isn't about any of their individual goals. It's not about Lucy's acclamation to the guild, Natsu's search for Igneel, Erza's shift in perception of strength, Gray's acceptance of self, or Wendy's growth as a mage. It's not even about stuff like defeating the Balam Alliance guilds, stopping Zeref's followers and demons, or saving the world from either Zeref or Acnologia. As important as those things are to the series, they aren't what the series itself is about.

Though, this isn't anything new. I've already said that the focus of the series is the guild. That was in part 1 of this series. While it's been 2 years since then, that much is still the case, and I haven't lost sight of that. I compared this to Durarara!!, but Fairy Tail is different because it actually has a group its story focuses on within the guild, as opposed to the multiple groups in Ikebukuro.

Here's where I have to make a clarification of a point made by Mashima. He said that it's up to the reader to decide who the main characters are. I don't interpret that to mean that Mashima didn't write the series with any main characters in mind. Among the female characters, the focus is definitely on Lucy. That grows to include Erza and Wendy as the series continues. While we'll follow Mira or Cana every now and then, the series isn't focusing on them as the focus for the series. I feel a generous interpretation of this is that fans are free to focus on characters outside of the main cast.

But, now we're back to the main question: What is the purpose of the guild?

A few different YouTuber personalities have tried to get at an answer to this question.

Nux Taku made the case that Fairy Tail as a guild is the main character of the series. I think this is close to the right answer. The threats of the series are usually first and foremost threats to the guild first and others second. Even in a case like Tartarus, where they are trying to affect the world, Fairy Tail only gets involved when their own interests or members are at risk or have been hurt. As far as I know, the only exception is Oracion Seis. Fairy Tail works with other guilds to take them out. And even then, they get hit by the Oracion Seis first.

The issue I have with this view is that the series focus is clearly on Team Natsu. The series starts as Natsu and Lucy meet and ends in chapter 545 on the team's plans to take on the Century Quest. I can't say that the focus on them doesn't exist. However, this is a great look at what the guild means, in a positive light.

Naturally, there are more negative views of the guild's function. Craftsdwarf said that the idea that the guild is as big as it is was a mistake and detriment to the series. Mashima couldn't follow through with establishing the wishes and goals of all the characters in the guild. To be fair, no series is ever going to flesh out the desires of every single character. However, Fairy Tail is unique because it focuses on a large group of characters it portrays as a tight-knit group. This makes the fact that Mashima didn't do this worse.

Despite other sketchy statements (Lucy's treatment in the guild is apparently comparable to her treatment from Jude), there is an interesting question brought up. Why would Lucy want to join the guild? I could point to OVA 3 as an explanation for Lucy wanting to join Fairy Tail.

However, I feel that there is a more interesting question to ask. Why would Lucy want to stay in Fairy Tail? To its critics, Fairy Tail is a hilariously rambunctious guild with a notoriously terrible reputation. What's so great about this guild? Why would anyone want to be a part of this guild?

I think Craftsdwarf has it wrong. (Shocking, I know.) I think we can identify as members of the guild because of its size. When I think of a group like the Black Bulls in Black Clover (a group another YouTuber contrasted to Fairy Tail), I think that they're cool as a group, but I don't know that I'd like to think of myself as someone who could be a potential member. Fairy Tail has a low bar for entry, doesn't care for its rambunctious members, and is still an elite guild, willing to go to war for its new members? Why wouldn't I want to join them? I could be a low-ranking member, fly under the council's radar, and get the same type of camaraderie that S-Class mages get.

"But what about the fact that only ten percent of the population can use magic?" (I ask this as if I didn’t already address this in talking about magic on the continent.)

Let's get one thing straight. Exclusivity, forced or otherwise, doesn't deny the possibility of camaraderie. Most colleges don't accept everyone that applies, and not everyone that gets in goes. That doesn't mean that you can't form serious lasting bonds on campuses, even among large groups of people. Even still, it's not as if there aren't examples of mages who use magic items as opposed to the magic in their bodies. People outside the ten percent capable of magic can still join magic guilds and work as members, even Fairy Tail. (Think Mystogan, and technically Porlyusica) You could be a part of Fairy Tail even if you can't use magic.

The function of the guild is to serve as a place for the audience to identify with. We ought to see the guild and rejoice as it rejoices, hurt when it hurts, and cry when it cries. At the very least, we should sympathize with the members of the Strongest Team as they seek to protect, save, and work on behalf of the guild.

This is why we get arcs like Edolas where the focus is returning the guild to normal. This is why one of the biggest arcs of the series involves members fighting to prove their worth after being ridiculed for seven years to almost absurd degrees. This is why the final war arc is framed, at least initially, as Fairy Tail vs Alvarez Empire and Acnologia. This is why the sequel found a way to involve the entire guild, even as our main focus ought to be on the Strongest Team.

What this means on a wider scale is keeping the guild's place as important. In arcs like Galuna Island or Daybreak, it's not as if that's a big concern. However, it's worth keeping in mind when arcs such as the Grand Magic Games and Tartarus come up.

I personally feel this strongest in rewriting the x791 arc. That arc is where I get to play with the feelings of the various members of the guild. What really ties some members to the guild? Prestige? Money? Secure jobs? What happens when that's taken away but the guild is still around?

And on a smaller scale, I have a good framework to address those minor characters of Fairy Tail. I don't know that every character needs to have a serious in-depth reason for joining and staying in Fairy Tail. That's especially true considering a lot of characters will leave halfway through the series. But, it's definitely worth thinking through what even small role folks like Kinana and Warren get out of being in the guild. If not for any reason but to shut the critics up.

#the rewrite of fairy tail #part 30 #this almost wasn't part 30 #i still have things to edit #read: finish writing #fairy tail month: seven of these?

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filmcompletmonsterhunter2020 · 3 years

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[Monster hunter] (2020)HD Film Complet Streaming VF en Français

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7.3/10 de 1112 utilisateurs Notre monde en cache un autre, dominé par de puissants et dangereux monstres. Lorsque le Lieutenant Artemis et son unité d’élite traversent un portail qui les transporte dans ce monde parallèle, ils subissent le choc de leur vie. Au cours d’une tentative désespérée pour rentrer chez elle, le brave lieutenant rencontre un chasseur mystérieux, qui a survécu dans ce monde hostile grâce à ses aptitudes uniques. Faisant face à de terrifiantes et incessantes attaques de monstres, ces guerriers font équipe pour se défendre et trouver un moyen de retourner dans notre monde.

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Sortie: 2020-12-03 Durée: 99 minutes Genre: Fantastique, Action, Aventure Etoiles: Milla Jovovich, Tony Jaa, T.I., Ron Perlman, Diego Boneta Directeur: Paul W. S. Anderson, Paul W. S. Anderson, Paul W. S. Anderson, Jeremy Bolt, Robert Kulzer

Il y a de cela fort longtemps, au royaume imaginaire de Kumandra, humains et dragons vivaient en harmonie. Mais un jour, une force maléfique s’abattit sur le royaume et les dragons se sacrifièrent pour sauver l’humanité. Lorsque cette force réapparait cinq siècles plus tard, Raya, une guerrière solitaire, se met en quête du légendaire dernier dragon pour restaurer l’harmonie sur la terre de Kumandra, au sein d’un peuple désormais divisé. Commence pour elle un long voyage au cours duquel elle découvrira qu’il lui faudra bien plus qu’un dragon pour sauver le monde, et que la confiance et l’entraide seront essentiels pour conduire au succès cette périlleuse mission. 31 mars 2020 / Animation, Fantastique, Aventure De Don Hall, Carlos Lopez Estrada, Paul Briggs … Avec Kelly Marie Tran, Awkwafina Nationalité Américain Monster hunter Monster hunter vf Monster hunter grand rex Monster hunter sortie france Monster hunter youtube Monster hunter telecharger Monster hunter age Monster hunter durée Monster hunter bande annonce Monster hunter casting Monster hunter sortie Monster hunter au grand rex Monster hunter affiche Monster hunter à partir de quel age Monster hunter avis Monster hunter avant premiere Monster hunter au cinema Monster hunter age minimum Monster hunter a telecharger Monster hunter age conseillé Monster hunter âge Monster hunter bande annonce youtube 🔮 THE STORY 🔮 Sci-fi is like dream, aside from stories in this classification utilize logical arrangement to explain the universe that it requires place in. It for the most part incorporates or is focused on the assumed impacts or repercussions of PCs or machines; travel through space, time or imaginary worlds; outsider living things; hereditary designing; or other such things. The science or innovation utilized may or probably won’t be completely explained on; stories whose logical components are sensibly point by point, well-informed and viewed as generally conceivable given current information and innovation are regularly known as hard sci-fi. Writing that objectives posses, criminal associations that give a degree of association, and assets that help a lot bigger and more specialized criminal exchanges than an individual criminal could accomplish. Criminals will be the subject of a few motion pictures, especially from the period somewhere in the range of 1930 and 1960. A restoration of criminal sort films happened since the 1990s with the blast of hip-jump culture. Dissimilar to the sooner hoodlum films, the more current movies share comparative components to the more established movies yet is more in a hip-bounce metropolitan setting. An experience story is around a hero who excursions to epic or removed spots to perform something. It could have a considerable number of other classification factors included inside it, since it is an open type. The hero incorporates a mission and faces hindrances to get to their objective. Additionally, experience stories as a rule incorporate obscure settings and characters with valued properties or highlights. At first proposed as a classification by the makers of the pretending game Children of daylight, dieselpunk alludes to fiction propelled by mid-century mash stories, predicated on the style of the interbellum period through World War II (c. 1920–45). Like steampunk however especially observed as a the ascent of oil power and technocratic discernment, fusing neo-noir factors and sharing subjects more clearly with cyberpunk than steampunk. Despite the fact that the striking quality of dieselpunk as a classification isn’t totally uncontested, portions which range from the retro-advanced film Sky Captain and the World of Tomorrow to the 2001 Activision computer game Return to Castle Wolfenstein have been recommended as quintessential dieselpunk works of fiction. A style when an entertainer acts before a live crowd, talking straightforwardly to them. The entertainer is generally alluded to as a comic, professional comedian, professional comic or simply a hold up. In stand-up parody the entertainer ordinarily discusses a relentless progression of amusing stories, short jokes called “pieces”, and jokes, which comprise what’s regularly called a discourse, routine or act. Some professional comics use props, music or sorcery stunts to improve their demonstrations. Stand-up satire is regularly acted in parody clubs, bars, neo-vaudevilles, schools, and theaters. Outside of live execution, stand-up is typically circulated monetarily by means of TV, DVD, and the web. like customary activity; instead of utilizing hand drawn pictures, stop movement films are made with little puppets or different articles which have their image taken regularly over a grouping of little developments to make liveliness outlines. Models are The Nightmare Before Christmas, Coraline, and Corpse Bride. 🔮 COPYRIGHT CONTENT 🔮 Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time.[1][2][3][4][5] The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itsDemon Slayer the Movie: Mugen Train.[6][7][8] A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States. Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed][9][10][11][12] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.[13] Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.[14] Typically, the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[5] to establishing copyright, others recognize copyright in any completed work, without a formal registration. It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.[15] 🔮 ADAPTATION 🔮 Sarah Paulson is my top choice, yet this film isn’t her best. I trusted that months for this will come out and I’m left asking why I was so energized. The trailer parted with everything. You knew the entire story before it even began. There was practically zero character improvement and everything just felt like it was 0–100 with no pacing at all. Likewise, the cosmetics office for Sarah’s last look-the hellfire would you say you were folks on when you thought of this? I really snickered when I saw her. It was an alright film. One that you’d be pissed on the off chance that you burned through cash on. Nothing new, normal, worn out acting. Additionally, no one realizes the proper behavior an asthma assault. This film had so many plot openings that it seemed like a parody. The mother can simply take an infant from the clinic? She harms her little girl for quite a long time and no specialist actually sees this during her regular visits? How did she manage the postal carrier’s vehicle? No one minded the postal carrier was absent? For what reason did the girl never get one of the numerous sharp or gruff articles around her and hit her mother? The mother leaves all her significant reports in a container sitting out and marked? For what reason would she tie up her girl’s wheel seat and not her girl? This is the means by which the entire film goes. The main redeemable nature of the film was Sarah Paulson’s very frightening acting. Likewise, this story has been done so often. I would not burn through my time watching this. Run is unsurprising and not extraordinary. The acting is phenomenal, while the story is fair. The story makes a magnificent showing of being exciting, yet it chiefly doesn’t go anyplace. I knew all that planned to happen despite the fact that I knew nothing. Nonetheless, There was one scene I appreciated where Clare says, “you need me.” The acting was only exceptional in that particular scene. In general, it’s a one time watch that you’ll most likely fail to remember. This is another film on Hulu by Aneesh Chaganty (and co-composed by Sev Ohanian), following up their realistic presentation Searching (2018) with a spine chiller including a mother and her 17-year-old little girl brought into the world with a few confusions (arrhythmia, hemochromatosis, asthma, diabetes, and most effectively loss of motion). I will say that it’s conceivable this film is superior to I preferred it, yet in the event that so it would be for its coordinating and acting, and less so about the composition. I felt like there were openings all over the place, and maybe an excess of is tossed at us too early for us to appropriately think about the characters and their circumstance. This sort of film has been done previously, absent a lot of new added to the table short the wheelchair perspective. There were a ton of components set up for what might have given a more grounded finishing conveyance and punch, yet the greater part of those beats were one-note and spent prior in the film as opposed to associating a solid inward weaving as Searching had the option to do. I went in visually impaired, and it’s possible better that I did given that the trailer is fairly uncovering. I don’t think it had a sufficiently high roof in any case to overshadow any wild absence of desires I previously had. My solitary desire was in the possession of the makers, and the most saving grace this film will probably have on crowds is I expectation they become mindful of Searching and see it sooner or later… which is the thing that I expectation the greater part of all of you can detract from this. That was my #1 film of 2018, and Run will tumble to the wayside as fairly convincing yet totally forgettable. The story and pre-assembled relationship just needed more squeeze once the credits rolled. This film was average, best case scenario. Try not to accept individuals giving it 8 or 9. The plot has been seen ordinarily, it was excessively unreasonable, and the closure failed. They attempted to showcase it as a loathsomeness/spine chiller however nothing about it is exciting. It’s a dramatization completely. I will say however, the entertainers did astounding with what they were given. Sarah Paulson was her standard sDemon Slayer the Movie: Mugen Train, great, not honor commendable. Be that as it may, Kiera Allen truly captured everyone’s attention. She made the film (which delayed for what seemed like 2 hours) watchable. In the event that you appreciated The Act or have nothing else to watch, give it a go. What’s the point of messing with this poop. It resembles a low lease endeavor at a spine chiller yet you definitely know the closure. The faltering endeavors at tension are more irritating than anything. It’s a terrible lifetime film to be straightforward. Furthermore, I like lifetime motion pictures! It’s additionally excessively coordinated, the music is exhausted and the acting isn’t incredible

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intouchables2011 · 3 years

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[Intouchables] (2011)HD Film Complet Streaming VF en Français

Regarder Intouchables Film Complet Streaming VF En Français — HD 2011 Voir Intouchables 2011 Film Complet En Français, Voir Intouchables 2011 Film Entier En Français, Voir Intouchables 2011 Film En Français, Voir Intouchables 2011 Film Complet, Voir Intouchables 2011 Film Complet VF, Voir Intouchables 2011 Film Complet Streaming, Voir Intouchables 2011 Film Entier, Intouchables 2011 Film Entier VF, Voir Intouchables 2011 Film Entier Streaming, Voir Intouchables 2011 Film Streaming VF, Voir Intouchables 2011 voir en streaming gratuit,

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Intouchables 2011

8.3/10 de 13137 utilisateurs À la suite d’un accident de parapente, Philippe, riche aristocrate, engage comme aide à domicile Driss, un jeune de banlieue tout juste sorti de prison… Bref la personne la moins adaptée pour le job. Ensemble ils vont faire cohabiter Vivaldi et Earth Wind and Fire, le verbe et la vanne, les costumes et les bas de survêtement… Deux univers vont se téléscoper, s’apprivoiser, pour donner naissance à une amitié aussi dingue, drôle et forte qu’inattendue, une relation unique qui fera des étincelles et qui les rendra… Intouchables.

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Sortie: 2011-11-02 Durée: 112 minutes Genre: Drame, Comédie Etoiles: François Cluzet, Omar Sy, Audrey Fleurot, Anne Le Ny, Clotilde Mollet Directeur: Olivia Bloch-Lainé, François Emmanuelli, Jean Goudier, Jean-Paul Hurier, Mathieu Vadepied

🎬 VISIT THIS LINK : https://t.co/k10juwiLYX?amp=1

🔮 THE STORY 🔮 Sci-fi is like dream, aside from stories in this classification utilize logical arrangement to explain the universe that it requires place in. It for the most part incorporates or is focused on the assumed impacts or repercussions of PCs or machines; travel through space, time or imaginary worlds; outsider living things; hereditary designing; or other such things. The science or innovation utilized may or probably won’t be completely explained on; stories whose logical components are sensibly point by point, well-informed and viewed as generally conceivable given current information and innovation are regularly known as hard sci-fi. Writing that objectives posses, criminal associations that give a degree of association, and assets that help a lot bigger and more specialized criminal exchanges than an individual criminal could accomplish. Criminals will be the subject of a few motion pictures, especially from the period somewhere in the range of 1930 and 1960. A restoration of criminal sort films happened since the 1990s with the blast of hip-jump culture. Dissimilar to the sooner hoodlum films, the more current movies share comparative components to the more established movies yet is more in a hip-bounce metropolitan setting. An experience story is around a hero who excursions to epic or removed spots to perform something. It could have a considerable number of other classification factors included inside it, since it is an open type. The hero incorporates a mission and faces hindrances to get to their objective. Additionally, experience stories as a rule incorporate obscure settings and characters with valued properties or highlights. At first proposed as a classification by the makers of the pretending game Children of daylight, dieselpunk alludes to fiction propelled by mid-century mash stories, predicated on the style of the interbellum period through World War II (c. 1920–45). Like steampunk however especially observed as a the ascent of oil power and technocratic discernment, fusing neo-noir factors and sharing subjects more clearly with cyberpunk than steampunk. Despite the fact that the striking quality of dieselpunk as a classification isn’t totally uncontested, portions which range from the retro-advanced film Sky Captain and the World of Tomorrow to the 2001 Activision computer game Return to Castle Wolfenstein have been recommended as quintessential dieselpunk works of fiction. A style when an entertainer acts before a live crowd, talking straightforwardly to them. The entertainer is generally alluded to as a comic, professional comedian, professional comic or simply a hold up. In stand-up parody the entertainer ordinarily discusses a relentless progression of amusing stories, short jokes called “pieces”, and jokes, which comprise what’s regularly called a discourse, routine or act. Some professional comics use props, music or sorcery stunts to improve their demonstrations. Stand-up satire is regularly acted in parody clubs, bars, neo-vaudevilles, schools, and theaters. Outside of live execution, stand-up is typically circulated monetarily by means of TV, DVD, and the web. like customary activity; instead of utilizing hand drawn pictures, stop movement films are made with little puppets or different articles which have their image taken regularly over a grouping of little developments to make liveliness outlines. Models are The Nightmare Before Christmas, Coraline, and Corpse Bride. 🔮 COPYRIGHT CONTENT 🔮 Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time.[1][2][3][4][5] The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itsDemon Slayer the Movie: Mugen Train.[6][7][8] A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States. Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed][9][10][11][12] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.[13] Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.[14] Typically, the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[5] to establishing copyright, others recognize copyright in any completed work, without a formal registration. It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.[15] 🔮 ADAPTATION 🔮 Sarah Paulson is my top choice, yet this film isn’t her best. I trusted that months for this will come out and I’m left asking why I was so energized. The trailer parted with everything. You knew the entire story before it even began. There was practically zero character improvement and everything just felt like it was 0–100 with no pacing at all. Likewise, the cosmetics office for Sarah’s last look-the hellfire would you say you were folks on when you thought of this? I really snickered when I saw her. It was an alright film. One that you’d be pissed on the off chance that you burned through cash on. Nothing new, normal, worn out acting. Additionally, no one realizes the proper behavior an asthma assault. This film had so many plot openings that it seemed like a parody. The mother can simply take an infant from the clinic? She harms her little girl for quite a long time and no specialist actually sees this during her regular visits? How did she manage the postal carrier’s vehicle? No one minded the postal carrier was absent? For what reason did the girl never get one of the numerous sharp or gruff articles around her and hit her mother? The mother leaves all her significant reports in a container sitting out and marked? For what reason would she tie up her girl’s wheel seat and not her girl? This is the means by which the entire film goes. The main redeemable nature of the film was Sarah Paulson’s very frightening acting. Likewise, this story has been done so often. I would not burn through my time watching this. Run is unsurprising and not extraordinary. The acting is phenomenal, while the story is fair. The story makes a magnificent showing of being exciting, yet it chiefly doesn’t go anyplace. I knew all that planned to happen despite the fact that I knew nothing. Nonetheless, There was one scene I appreciated where Clare says, “you need me.” The acting was only exceptional in that particular scene. In general, it’s a one time watch that you’ll most likely fail to remember. This is another film on Hulu by Aneesh Chaganty (and co-composed by Sev Ohanian), following up their realistic presentation Searching (2018) with a spine chiller including a mother and her 17-year-old little girl brought into the world with a few confusions (arrhythmia, hemochromatosis, asthma, diabetes, and most effectively loss of motion). I will say that it’s conceivable this film is superior to I preferred it, yet in the event that so it would be for its coordinating and acting, and less so about the composition. I felt like there were openings all over the place, and maybe an excess of is tossed at us too early for us to appropriately think about the characters and their circumstance. This sort of film has been done previously, absent a lot of new added to the table short the wheelchair perspective. There were a ton of components set up for what might have given a more grounded finishing conveyance and punch, yet the greater part of those beats were one-note and spent prior in the film as opposed to associating a solid inward weaving as Searching had the option to do. I went in visually impaired, and it’s possible better that I did given that the trailer is fairly uncovering. I don’t think it had a sufficiently high roof in any case to overshadow any wild absence of desires I previously had. My solitary desire was in the possession of the makers, and the most saving grace this film will probably have on crowds is I expectation they become mindful of Searching and see it sooner or later… which is the thing that I expectation the greater part of all of you can detract from this. That was my #1 film of 2018, and Run will tumble to the wayside as fairly convincing yet totally forgettable. The story and pre-assembled relationship just needed more squeeze once the credits rolled. This film was average, best case scenario. Try not to accept individuals giving it 8 or 9. The plot has been seen ordinarily, it was excessively unreasonable, and the closure failed. They attempted to showcase it as a loathsomeness/spine chiller however nothing about it is exciting. It’s a dramatization completely. I will say however, the entertainers did astounding with what they were given. Sarah Paulson was her standard sDemon Slayer the Movie: Mugen Train, great, not honor commendable. Be that as it may, Kiera Allen truly captured everyone’s attention. She made the film (which delayed for what seemed like 2 hours) watchable. In the event that you appreciated The Act or have nothing else to watch, give it a go. What’s the point of messing with this poop. It resembles a low lease endeavor at a spine chiller yet you definitely know the closure. The faltering endeavors at tension are more irritating than anything. It’s a terrible lifetime film to be straightforward. Furthermore, I like lifetime motion pictures! It’s additionally excessively coordinated, the music is exhausted and the acting isn’t incredible

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rayaetledernier2021 · 3 years

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【™FILM'COMPLET】RAYA ET LE DERNIER DRAGON (2021)-HD Streaming VF en Français

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RAYA ET LE DERNIER DRAGON 2021

VOIR: ▶️▶️https://tinyurl.com/3za3wv6b

8.6/10 de 1042 utilisateurs Il y a de cela fort longtemps, au royaume imaginaire de Kumandra, humains et dragons vivaient en harmonie. Mais un jour, une force maléfique s’abattit sur le royaume et les dragons se sacrifièrent pour sauver l’humanité. Lorsque cette force réapparait cinq siècles plus tard, Raya, une guerrière solitaire, se met en quête du légendaire dernier dragon pour restaurer l’harmonie sur la terre de Kumandra, au sein d’un peuple désormais divisé. Commence pour elle un long voyage au cours duquel elle découvrira qu’il lui faudra bien plus qu’un dragon pour sauver le monde, et que la confiance et l’entraide seront essentiels pour conduire au succès cette périlleuse mission.

Sortie: 2021-03-03 Durée: 114 minutes Genre: Animation, Aventure, Fantastique, Familial, Action Etoiles: Kelly Marie Tran, Awkwafina, Izaac Wang, Gemma Chan, Daniel Dae Kim Directeur: James Newton Howard, Fabienne Rawley, Peter Del Vecho, Paul A. Felix, Jamie Sparer Roberts

⭐⭐⭐⭐⭐⭐⭐

REGARDER : ▶️▶️https://tinyurl.com/3za3wv6b

Il y a de cela fort longtemps, au royaume imaginaire de Kumandra, humains et dragons vivaient en harmonie. Mais un jour, une force maléfique s’abattit sur le royaume et les dragons se sacrifièrent pour sauver l’humanité. Lorsque cette force réapparait cinq siècles plus tard, Raya, une guerrière solitaire, se met en quête du légendaire dernier dragon pour restaurer l’harmonie sur la terre de Kumandra, au sein d’un peuple désormais divisé. Commence pour elle un long voyage au cours duquel elle découvrira qu’il lui faudra bien plus qu’un dragon pour sauver le monde, et que la confiance et l’entraide seront essentiels pour conduire au succès cette périlleuse mission. 31 mars 2021 / Animation, Fantastique, Aventure De Don Hall, Carlos Lopez Estrada, Paul Briggs … Avec Kelly Marie Tran, Awkwafina Nationalité Américain RAYA ET LE DERNIER DRAGON RAYA ET LE DERNIER DRAGON vf RAYA ET LE DERNIER DRAGON grand rex RAYA ET LE DERNIER DRAGON sortie france RAYA ET LE DERNIER DRAGON youtube RAYA ET LE DERNIER DRAGON telecharger RAYA ET LE DERNIER DRAGON age RAYA ET LE DERNIER DRAGON durée RAYA ET LE DERNIER DRAGON bande annonce RAYA ET LE DERNIER DRAGON casting RAYA ET LE DERNIER DRAGON sortie RAYA ET LE DERNIER DRAGON au grand rex RAYA ET LE DERNIER DRAGON affiche RAYA ET LE DERNIER DRAGON à partir de quel age RAYA ET LE DERNIER DRAGON avis RAYA ET LE DERNIER DRAGON avant premiere RAYA ET LE DERNIER DRAGON au cinema RAYA ET LE DERNIER DRAGON age minimum RAYA ET LE DERNIER DRAGON a telecharger RAYA ET LE DERNIER DRAGON age conseillé RAYA ET LE DERNIER DRAGON âge RAYA ET LE DERNIER DRAGON bande annonce youtube 🔮 THE STORY 🔮 Sci-fi is like dream, aside from stories in this classification utilize logical arrangement to explain the universe that it requires place in. It for the most part incorporates or is focused on the assumed impacts or repercussions of PCs or machines; travel through space, time or imaginary worlds; outsider living things; hereditary designing; or other such things. The science or innovation utilized may or probably won’t be completely explained on; stories whose logical components are sensibly point by point, well-informed and viewed as generally conceivable given current information and innovation are regularly known as hard sci-fi. Writing that objectives posses, criminal associations that give a degree of association, and assets that help a lot bigger and more specialized criminal exchanges than an individual criminal could accomplish. Criminals will be the subject of a few motion pictures, especially from the period somewhere in the range of 1930 and 1960. A restoration of criminal sort films happened since the 1990s with the blast of hip-jump culture. Dissimilar to the sooner hoodlum films, the more current movies share comparative components to the more established movies yet is more in a hip-bounce metropolitan setting. An experience story is around a hero who excursions to epic or removed spots to perform something. It could have a considerable number of other classification factors included inside it, since it is an open type. The hero incorporates a mission and faces hindrances to get to their objective. Additionally, experience stories as a rule incorporate obscure settings and characters with valued properties or highlights. At first proposed as a classification by the makers of the pretending game Children of daylight, dieselpunk alludes to fiction propelled by mid-century mash stories, predicated on the style of the interbellum period through World War II (c. 1920–45). Like steampunk however especially observed as a the ascent of oil power and technocratic discernment, fusing neo-noir factors and sharing subjects more clearly with cyberpunk than steampunk. Despite the fact that the striking quality of dieselpunk as a classification isn’t totally uncontested, portions which range from the retro-advanced film Sky Captain and the World of Tomorrow to the 2001 Activision computer game Return to Castle Wolfenstein have been recommended as quintessential dieselpunk works of fiction. A style when an entertainer acts before a live crowd, talking straightforwardly to them. The entertainer is generally alluded to as a comic, professional comedian, professional comic or simply a hold up. In stand-up parody the entertainer ordinarily discusses a relentless progression of amusing stories, short jokes called “pieces”, and jokes, which comprise what’s regularly called a discourse, routine or act. Some professional comics use props, music or sorcery stunts to improve their demonstrations. Stand-up satire is regularly acted in parody clubs, bars, neo-vaudevilles, schools, and theaters. Outside of live execution, stand-up is typically circulated monetarily by means of TV, DVD, and the web. like customary activity; instead of utilizing hand drawn pictures, stop movement films are made with little puppets or different articles which have their image taken regularly over a grouping of little developments to make liveliness outlines. Models are The Nightmare Before Christmas, Coraline, and Corpse Bride. 🔮 COPYRIGHT CONTENT 🔮 Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time.[1][2][3][4][5] The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itsDemon Slayer the Movie: Mugen Train.[6][7][8] A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States. Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed][9][10][11][12] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.[13] Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.[14] Typically, the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[5] to establishing copyright, others recognize copyright in any completed work, without a formal registration. It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.[15] 🔮 ADAPTATION 🔮 Sarah Paulson is my top choice, yet this film isn’t her best. I trusted that months for this will come out and I’m left asking why I was so energized. The trailer parted with everything. You knew the entire story before it even began. There was practically zero character improvement and everything just felt like it was 0–100 with no pacing at all. Likewise, the cosmetics office for Sarah’s last look-the hellfire would you say you were folks on when you thought of this? I really snickered when I saw her. It was an alright film. One that you’d be pissed on the off chance that you burned through cash on. Nothing new, normal, worn out acting. Additionally, no one realizes the proper behavior an asthma assault. This film had so many plot openings that it seemed like a parody. The mother can simply take an infant from the clinic? She harms her little girl for quite a long time and no specialist actually sees this during her regular visits? How did she manage the postal carrier’s vehicle? No one minded the postal carrier was absent? For what reason did the girl never get one of the numerous sharp or gruff articles around her and hit her mother? The mother leaves all her significant reports in a container sitting out and marked? For what reason would she tie up her girl’s wheel seat and not her girl? This is the means by which the entire film goes. The main redeemable nature of the film was Sarah Paulson’s very frightening acting. Likewise, this story has been done so often. I would not burn through my time watching this. Run is unsurprising and not extraordinary. The acting is phenomenal, while the story is fair. The story makes a magnificent showing of being exciting, yet it chiefly doesn’t go anyplace. I knew all that planned to happen despite the fact that I knew nothing. Nonetheless, There was one scene I appreciated where Clare says, “you need me.” The acting was only exceptional in that particular scene. In general, it’s a one time watch that you’ll most likely fail to remember. This is another film on Hulu by Aneesh Chaganty (and co-composed by Sev Ohanian), following up their realistic presentation Searching (2018) with a spine chiller including a mother and her 17-year-old little girl brought into the world with a few confusions (arrhythmia, hemochromatosis, asthma, diabetes, and most effectively loss of motion). I will say that it’s conceivable this film is superior to I preferred it, yet in the event that so it would be for its coordinating and acting, and less so about the composition. I felt like there were openings all over the place, and maybe an excess of is tossed at us too early for us to appropriately think about the characters and their circumstance. This sort of film has been done previously, absent a lot of new added to the table short the wheelchair perspective. There were a ton of components set up for what might have given a more grounded finishing conveyance and punch, yet the greater part of those beats were one-note and spent prior in the film as opposed to associating a solid inward weaving as Searching had the option to do. I went in visually impaired, and it’s possible better that I did given that the trailer is fairly uncovering. I don’t think it had a sufficiently high roof in any case to overshadow any wild absence of desires I previously had. My solitary desire was in the possession of the makers, and the most saving grace this film will probably have on crowds is I expectation they become mindful of Searching and see it sooner or later… which is the thing that I expectation the greater part of all of you can detract from this. That was my #1 film of 2018, and Run will tumble to the wayside as fairly convincing yet totally forgettable. The story and pre-assembled relationship just needed more squeeze once the credits rolled. This film was average, best case scenario. Try not to accept individuals giving it 8 or 9. The plot has been seen ordinarily, it was excessively unreasonable, and the closure failed. They attempted to showcase it as a loathsomeness/spine chiller however nothing about it is exciting. It’s a dramatization completely. I will say however, the entertainers did astounding with what they were given. Sarah Paulson was her standard sDemon Slayer the Movie: Mugen Train, great, not honor commendable. Be that as it may, Kiera Allen truly captured everyone’s attention. She made the film (which delayed for what seemed like 2 hours) watchable. In the event that you appreciated The Act or have nothing else to watch, give it a go. What’s the point of messing with this poop. It resembles a low lease endeavor at a spine chiller yet you definitely know the closure. The faltering endeavors at tension are more irritating than anything. It’s a terrible lifetime film to be straightforward. Furthermore, I like lifetime motion pictures! It’s additionally excessively coordinated, the music is exhausted and the acting isn’t incredible

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rayaetledernier · 3 years

Text

[RAYA ET LE DERNIER DRAGON] (2021)HD Film Complet Streaming VF en Français

RAYA ET LE DERNIER DRAGON 2021

REGARDER : ▶️▶️https://tinyurl.com/3za3wv6b

VOIR: ▶️▶️ RAYA ET LE DERNIER DRAGON 2021

Il y a de cela fort longtemps, au royaume imaginaire de Kumandra, humains et dragons vivaient en harmonie. Mais un jour, une force maléfique s’abattit sur le royaume et les dragons se sacrifièrent pour sauver l’humanité. Lorsque cette force réapparait cinq siècles plus tard, Raya, une guerrière solitaire, se met en quête du légendaire dernier dragon pour restaurer l’harmonie sur la terre de Kumandra, au sein d’un peuple désormais divisé. Commence pour elle un long voyage au cours duquel elle découvrira qu’il lui faudra bien plus qu’un dragon pour sauver le monde, et que la confiance et l’entraide seront essentiels pour conduire au succès cette périlleuse mission. 31 mars 2021 / Animation, Fantastique, Aventure De Don Hall, Carlos Lopez Estrada, Paul Briggs … Avec Kelly Marie Tran, Awkwafina Nationalité Américain RAYA ET LE DERNIER DRAGON RAYA ET LE DERNIER DRAGON vf RAYA ET LE DERNIER DRAGON grand rex RAYA ET LE DERNIER DRAGON sortie france RAYA ET LE DERNIER DRAGON youtube RAYA ET LE DERNIER DRAGON telecharger RAYA ET LE DERNIER DRAGON age RAYA ET LE DERNIER DRAGON durée RAYA ET LE DERNIER DRAGON bande annonce RAYA ET LE DERNIER DRAGON casting RAYA ET LE DERNIER DRAGON sortie RAYA ET LE DERNIER DRAGON au grand rex RAYA ET LE DERNIER DRAGON affiche RAYA ET LE DERNIER DRAGON à partir de quel age RAYA ET LE DERNIER DRAGON avis RAYA ET LE DERNIER DRAGON avant premiere RAYA ET LE DERNIER DRAGON au cinema RAYA ET LE DERNIER DRAGON age minimum RAYA ET LE DERNIER DRAGON a telecharger RAYA ET LE DERNIER DRAGON age conseillé RAYA ET LE DERNIER DRAGON âge RAYA ET LE DERNIER DRAGON bande annonce youtube 🔮 THE STORY 🔮 Sci-fi is like dream, aside from stories in this classification utilize logical arrangement to explain the universe that it requires place in. It for the most part incorporates or is focused on the assumed impacts or repercussions of PCs or machines; travel through space, time or imaginary worlds; outsider living things; hereditary designing; or other such things. The science or innovation utilized may or probably won’t be completely explained on; stories whose logical components are sensibly point by point, well-informed and viewed as generally conceivable given current information and innovation are regularly known as hard sci-fi. Writing that objectives posses, criminal associations that give a degree of association, and assets that help a lot bigger and more specialized criminal exchanges than an individual criminal could accomplish. Criminals will be the subject of a few motion pictures, especially from the period somewhere in the range of 1930 and 1960. A restoration of criminal sort films happened since the 1990s with the blast of hip-jump culture. Dissimilar to the sooner hoodlum films, the more current movies share comparative components to the more established movies yet is more in a hip-bounce metropolitan setting. An experience story is around a hero who excursions to epic or removed spots to perform something. It could have a considerable number of other classification factors included inside it, since it is an open type. The hero incorporates a mission and faces hindrances to get to their objective. Additionally, experience stories as a rule incorporate obscure settings and characters with valued properties or highlights. At first proposed as a classification by the makers of the pretending game Children of daylight, dieselpunk alludes to fiction propelled by mid-century mash stories, predicated on the style of the interbellum period through World War II (c. 1920–45). Like steampunk however especially observed as a the ascent of oil power and technocratic discernment, fusing neo-noir factors and sharing subjects more clearly with cyberpunk than steampunk. Despite the fact that the striking quality of dieselpunk as a classification isn’t totally uncontested, portions which range from the retro-advanced film Sky Captain and the World of Tomorrow to the 2001 Activision computer game Return to Castle Wolfenstein have been recommended as quintessential dieselpunk works of fiction. A style when an entertainer acts before a live crowd, talking straightforwardly to them. The entertainer is generally alluded to as a comic, professional comedian, professional comic or simply a hold up. In stand-up parody the entertainer ordinarily discusses a relentless progression of amusing stories, short jokes called “pieces”, and jokes, which comprise what’s regularly called a discourse, routine or act. Some professional comics use props, music or sorcery stunts to improve their demonstrations. Stand-up satire is regularly acted in parody clubs, bars, neo-vaudevilles, schools, and theaters. Outside of live execution, stand-up is typically circulated monetarily by means of TV, DVD, and the web. like customary activity; instead of utilizing hand drawn pictures, stop movement films are made with little puppets or different articles which have their image taken regularly over a grouping of little developments to make liveliness outlines. Models are The Nightmare Before Christmas, Coraline, and Corpse Bride. 🔮 COPYRIGHT CONTENT 🔮 Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time.[1][2][3][4][5] The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itsDemon Slayer the Movie: Mugen Train.[6][7][8] A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States. Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed][9][10][11][12] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.[13] Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.[14] Typically, the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[5] to establishing copyright, others recognize copyright in any completed work, without a formal registration. It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.[15] 🔮 ADAPTATION 🔮 Sarah Paulson is my top choice, yet this film isn’t her best. I trusted that months for this will come out and I’m left asking why I was so energized. The trailer parted with everything. You knew the entire story before it even began. There was practically zero character improvement and everything just felt like it was 0–100 with no pacing at all. Likewise, the cosmetics office for Sarah’s last look-the hellfire would you say you were folks on when you thought of this? I really snickered when I saw her. It was an alright film. One that you’d be pissed on the off chance that you burned through cash on. Nothing new, normal, worn out acting. Additionally, no one realizes the proper behavior an asthma assault. This film had so many plot openings that it seemed like a parody. The mother can simply take an infant from the clinic? She harms her little girl for quite a long time and no specialist actually sees this during her regular visits? How did she manage the postal carrier’s vehicle? No one minded the postal carrier was absent? For what reason did the girl never get one of the numerous sharp or gruff articles around her and hit her mother? The mother leaves all her significant reports in a container sitting out and marked? For what reason would she tie up her girl’s wheel seat and not her girl? This is the means by which the entire film goes. The main redeemable nature of the film was Sarah Paulson’s very frightening acting. Likewise, this story has been done so often. I would not burn through my time watching this. Run is unsurprising and not extraordinary. The acting is phenomenal, while the story is fair. The story makes a magnificent showing of being exciting, yet it chiefly doesn’t go anyplace. I knew all that planned to happen despite the fact that I knew nothing. Nonetheless, There was one scene I appreciated where Clare says, “you need me.” The acting was only exceptional in that particular scene. In general, it’s a one time watch that you’ll most likely fail to remember. This is another film on Hulu by Aneesh Chaganty (and co-composed by Sev Ohanian), following up their realistic presentation Searching (2018) with a spine chiller including a mother and her 17-year-old little girl brought into the world with a few confusions (arrhythmia, hemochromatosis, asthma, diabetes, and most effectively loss of motion). I will say that it’s conceivable this film is superior to I preferred it, yet in the event that so it would be for its coordinating and acting, and less so about the composition. I felt like there were openings all over the place, and maybe an excess of is tossed at us too early for us to appropriately think about the characters and their circumstance. This sort of film has been done previously, absent a lot of new added to the table short the wheelchair perspective. There were a ton of components set up for what might have given a more grounded finishing conveyance and punch, yet the greater part of those beats were one-note and spent prior in the film as opposed to associating a solid inward weaving as Searching had the option to do. I went in visually impaired, and it’s possible better that I did given that the trailer is fairly uncovering. I don’t think it had a sufficiently high roof in any case to overshadow any wild absence of desires I previously had. My solitary desire was in the possession of the makers, and the most saving grace this film will probably have on crowds is I expectation they become mindful of Searching and see it sooner or later… which is the thing that I expectation the greater part of all of you can detract from this. That was my #1 film of 2018, and Run will tumble to the wayside as fairly convincing yet totally forgettable. The story and pre-assembled relationship just needed more squeeze once the credits rolled. This film was average, best case scenario. Try not to accept individuals giving it 8 or 9. The plot has been seen ordinarily, it was excessively unreasonable, and the closure failed. They attempted to showcase it as a loathsomeness/spine chiller however nothing about it is exciting. It’s a dramatization completely. I will say however, the entertainers did astounding with what they were given. Sarah Paulson was her standard sDemon Slayer the Movie: Mugen Train, great, not honor commendable. Be that as it may, Kiera Allen truly captured everyone’s attention. She made the film (which delayed for what seemed like 2 hours) watchable. In the event that you appreciated The Act or have nothing else to watch, give it a go. What’s the point of messing with this poop. It resembles a low lease endeavor at a spine chiller yet you definitely know the closure. The faltering endeavors at tension are more irritating than anything. It’s a terrible lifetime film to be straightforward. Furthermore, I like lifetime motion pictures! It’s additionally excessively coordinated, the music is exhausted and the acting isn’t incredible

1 note · View note

godzilla-vs-kong-vostfr · 3 years

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Godzilla vs. Kong regarder film Online

Regarder Godzilla vs. Kong Film Complet Streaming VF En Français — HD 2021 Voir Godzilla vs. Kong 2021 Film Complet En Français, Voir Godzilla vs. Kong 2021 Film Entier En Français, Voir Godzilla vs. Kong 2021 Film En Français, Voir Godzilla vs. Kong 2021 Film Complet, Voir Godzilla vs. Kong 2021 Film Complet VF, Voir Godzilla vs. Kong 2021 Film Complet Streaming, Voir Godzilla vs. Kong 2021 Film Entier, Godzilla vs. Kong 2021 Film Entier VF, Voir Godzilla vs. Kong 2021 Film Entier Streaming, Voir Godzilla vs. Kong 2021 Film Streaming VF, Voir Godzilla vs. Kong 2021 voir en streaming gratuit,

[REGARDER] ♦♦♦ https://pureflixmovie.com/fr/movie/399566/godzilla-vs-kong

À une époque où les monstres parcourent la Terre, et alors que l’humanité lutte pour son avenir, Godzilla et King Kong, les deux forces les plus puissantes de la nature, entrent en collision dans une bataille spectaculaire inédite. Alors que Monarch se lance dans une mission périlleuse en terrain inconnu, et qu’il découvre des indices sur les origines des Titans, un complot humain menace d’éradiquer ces créatures — qu’elles soient bonnes ou mauvaises — de la surface de la planète.

Durée: 120 minutes Genre: Action, Science-Fiction Etoiles: Alexander Skarsgård, Millie Bobby Brown, Kyle Chandler, Rebecca Hall, Brian Tyree Henry Directeur: Terry Rossio, Eric McLeod, Sarah Halley Finn, Owen Paterson, Michael Dougherty

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🔮 THE STORY 🔮

Sci-fi is like dream, aside from stories in this classification utilize logical arrangement to explain the universe that it requires place in. It for the most part incorporates or is focused on the assumed impacts or repercussions of PCs or machines; travel through space, time or imaginary worlds; outsider living things; hereditary designing; or other such things. The science or innovation utilized may or probably won’t be completely explained on; stories whose logical components are sensibly point by point, well-informed and viewed as generally conceivable given current information and innovation are regularly known as hard sci-fi. Writing that objectives posses, criminal associations that give a degree of association, and assets that help a lot bigger and more specialized criminal exchanges than an individual criminal could accomplish. Criminals will be the subject of a few motion pictures, especially from the period somewhere in the range of 1930 and 1960. A restoration of criminal sort films happened since the 1990s with the blast of hip-jump culture. Dissimilar to the sooner hoodlum films, the more current movies share comparative components to the more established movies yet is more in a hip-bounce metropolitan setting. An experience story is around a hero who excursions to epic or removed spots to perform something. It could have a considerable number of other classification factors included inside it, since it is an open type. The hero incorporates a mission and faces hindrances to get to their objective. Additionally, experience stories as a rule incorporate obscure settings and characters with valued properties or highlights.

At first proposed as a classification by the makers of the pretending game Children of daylight, dieselpunk alludes to fiction propelled by mid-century mash stories, predicated on the style of the interbellum period through World War II (c. 1920–45). Like steampunk however especially observed as a the ascent of oil power and technocratic discernment, fusing neo-noir factors and sharing subjects more clearly with cyberpunk than steampunk. Despite the fact that the striking quality of dieselpunk as a classification isn’t totally uncontested, portions which range from the retro-advanced film Sky Captain and the World of Tomorrow to the 2001 Activision computer game Return to Castle Wolfenstein have been recommended as quintessential dieselpunk works of fiction. A style when an entertainer acts before a live crowd, talking straightforwardly to them. The entertainer is generally alluded to as a comic, professional comedian, professional comic or simply a hold up. In stand-up parody the entertainer ordinarily discusses a relentless progression of amusing stories, short jokes called “pieces”, and jokes, which comprise what’s regularly called a discourse, routine or act. Some professional comics use props, music or sorcery stunts to improve their demonstrations. Stand-up satire is regularly acted in parody clubs, bars, neo-vaudevilles, schools, and theaters. Outside of live execution, stand-up is typically circulated monetarily by means of TV, DVD, and the web. like customary activity; instead of utilizing hand drawn pictures, stop movement films are made with little puppets or different articles which have their image taken regularly over a grouping of little developments to make liveliness outlines. Models are The Nightmare Before Christmas, Coraline, and Corpse Bride.

🔮 COPYRIGHT CONTENT 🔮

Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time.[1][2][3][4][5] The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itsDemon Slayer the Movie: Mugen Train.[6][7][8] A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States.

Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed][9][10][11][12] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.[13]

Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.[14]

Typically, the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[5] to establishing copyright, others recognize copyright in any completed work, without a formal registration.

It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.[15]

🔮 ADAPTATION 🔮

Sarah Paulson is my top choice, yet this film isn’t her best. I trusted that months for this will come out and I’m left asking why I was so energized. The trailer parted with everything. You knew the entire story before it even began. There was practically zero character improvement and everything just felt like it was 0–100 with no pacing at all. Likewise, the cosmetics office for Sarah’s last look-the hellfire would you say you were folks on when you thought of this? I really snickered when I saw her. It was an alright film. One that you’d be pissed on the off chance that you burned through cash on. Nothing new, normal, worn out acting. Additionally, no one realizes the proper behavior an asthma assault. This film had so many plot openings that it seemed like a parody. The mother can simply take an infant from the clinic? She harms her little girl for quite a long time and no specialist actually sees this during her regular visits? How did she manage the postal carrier’s vehicle? No one minded the postal carrier was absent? For what reason did the girl never get one of the numerous sharp or gruff articles around her and hit her mother? The mother leaves all her significant reports in a container sitting out and marked? For what reason would she tie up her girl’s wheel seat and not her girl? This is the means by which the entire film goes. The main redeemable nature of the film was Sarah Paulson’s very frightening acting. Likewise, this story has been done so often. I would not burn through my time watching this. Run is unsurprising and not extraordinary. The acting is phenomenal, while the story is fair. The story makes a magnificent showing of being exciting, yet it chiefly doesn’t go anyplace. I knew all that planned to happen despite the fact that I knew nothing. Nonetheless, There was one scene I appreciated where Clare says, “you need me.” The acting was only exceptional in that particular scene. In general, it’s a one time watch that you’ll most likely fail to remember. This is another film on Hulu by Aneesh Chaganty (and co-composed by Sev Ohanian), following up their realistic presentation Searching (2018) with a spine chiller including a mother and her 17-year-old little girl brought into the world with a few confusions (arrhythmia, hemochromatosis, asthma, diabetes, and most effectively loss of motion).

I will say that it’s conceivable this film is superior to I preferred it, yet in the event that so it would be for its coordinating and acting, and less so about the composition. I felt like there were openings all over the place, and maybe an excess of is tossed at us too early for us to appropriately think about the characters and their circumstance. This sort of film has been done previously, absent a lot of new added to the table short the wheelchair perspective. There were a ton of components set up for what might have given a more grounded finishing conveyance and punch, yet the greater part of those beats were one-note and spent prior in the film as opposed to associating a solid inward weaving as Searching had the option to do. I went in visually impaired, and it’s possible better that I did given that the trailer is fairly uncovering. I don’t think it had a sufficiently high roof in any case to overshadow any wild absence of desires I previously had. My solitary desire was in the possession of the makers, and the most saving grace this film will probably have on crowds is I expectation they become mindful of Searching and see it sooner or later… which is the thing that I expectation the greater part of all of you can detract from this. That was my #1 film of 2018, and Run will tumble to the wayside as fairly convincing yet totally forgettable. The story and pre-assembled relationship just needed more squeeze once the credits rolled. This film was average, best case scenario. Try not to accept individuals giving it 8 or 9. The plot has been seen ordinarily, it was excessively unreasonable, and the closure failed. They attempted to showcase it as a loathsomeness/spine chiller however nothing about it is exciting. It’s a dramatization completely. I will say however, the entertainers did astounding with what they were given. Sarah Paulson was her standard sDemon Slayer the Movie: Mugen Train, great, not honor commendable. Be that as it may, Kiera Allen truly captured everyone’s attention. She made the film (which delayed for what seemed like 2 hours) watchable. In the event that you appreciated The Act or have nothing else to watch, give it a go. What’s the point of messing with this poop. It resembles a low lease endeavor at a spine chiller yet you definitely know the closure. The faltering endeavors at tension are more irritating than anything. It’s a terrible lifetime film to be straightforward. Furthermore, I like lifetime motion pictures! It’s additionally excessively coordinated, the music is exhausted and the acting isn’t incredible.

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fuse2dx · 4 years

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June '20

Trials of Mana

Maybe not the highest profile remake Square-Enix have put out in recent memory, but one that was pretty exciting for me. I played a fan translation of the Super Famicom original some 20 years ago, so while it's not particularly fresh in my head, there's just enough there to enjoy some infrequent little pangs of nostalgia. The move to 3D has made for some welcome changes to to combat - jumping adds a vertical element to combat that wasn't present before, and enemy specials being clearly telegraphed and avoidable puts a little more control in your hands. There's still a good amount of 16 bit jank though - combo timing feels unreliable, the camera's often a pain, there's plenty of questionable hit detection, and you definitely wouldn't want to leave your fate solely in the hands of your party's AI. Willing to put most of this aside, what actually mattered more to me was that it still had the kind of playful, breezy nature, it looks and plays nicely, and that it progresses at a nice clip. Party selection will change the way you fight moment-to-moment, but only provides minor and very brief deviance from the main storyline, most of which is the kind of schlocky cartoon villainy that will have you looking for a skip button before it would illicit any kind of emotional response. But you know what? Overall, I still enjoyed it a lot.

So while it may not be revolutionising the action RPG, what it does show is that Square-Enix is capable of acknowledging their history of previously untranslated works, and that they also now have a pretty good template for getting a B-tier remake of such titles out in a reasonable timeframe. Where do I send my wish list in to, team?

Sayonara Wild Hearts

As a one-liner found on the back of the box, 'A pop album video game' is about as on-the-nose as it gets. The old "it's not for everyone" adage is definitely applicable, and its defiance of traditional video game metrics is not in any way subtle. How sophisticated is the gameplay? Not particularly. How long is it? Not very. But how does it make you feel? Now you're talking. It presents a simple but deeply relatable story of a broken heart, and leads from there with a catchy tune into a fast and colourful onslaught of new ideas, perspectives, and concepts. That is to say: it has the potential to make you feel all kinds of things.

One especially celebratory note was how well the game is structured to fit into the album structure it boasts about. Stages flow quickly into one another, and while shorter, more compounding numbers are often about introducing new ideas and themes, moving on to the next is a few simple button presses and a brief, well-hidden loading window away. Inevitably there are more standout stages, those that feel like the hit singles; the longer, verse-chorus-verse type joints that grant the space for more fleshed out visual story telling, and that smartly synchronise their percussive hits, soaring vocals and the like to appropriate beats of play. A lot of the gameplay can easily (and cynically) be reduced to "it's an endless runner", but to liken this to a cheap re-skin of a confirmed hit-maker is to wilfully dismiss so much of what it does better and so much beside. You can play it on damn near everything, and for the time it takes, it's well worth doing.

Twinkle Star Sprites

I've meant to play this countless times before. I've almost certainly passed it by while strolling through arcades, the Saturn version has never been hoovered up into my collection, and the PS2 collection this particular version belongs to - ADK Damashii - is no longer a cheap addition to anyone's library. The digital version of it for PS4 however was however recently on sale at a point that saw me receive change from a fiver. David Dickinson would be proud.

Having now credit-fed my way through the game's brief arcade mode, there's no doubt in my mind that the nuance of its systems are going to be glossed over in this rather ham-fisted appraisal. At least at face value, there's plenty of character and charm to appreciate in its colourful and cutesy style. As a two-player, vertically split-screen title, its a pretty clean break from a lot of a shooter's typical characteristics - rather than 6(ish) stages of hell, its a series of one on one battles - and all the better suited to 2 players for it. As enemy waves come at you, taking them out in chains can generate attacks to the other player; however if these attacks are too small then it's entirely possible they'll be killed off again, and an even bigger attack will come straight back at you. Think of a bit like competitive Tetris, but with shooting rather than puzzling. It's a neat and curious little game, that's likely best experienced properly, with a friend on the other side of the sofa to hurl abuse at.

Blasphemous

Let's get the lazy-but-effective description out of the way: it's a 2D MetroidVania Souls-like. You've got "that" type of map, definitely-not-bonfires and definitely-not-Estus Flasks. You are encouraged to return to your body upon death, the combat system is very reliant on parries and dodge-rolls, and there's even a dedicated "lore" button to use on every item you pick up.

While this likely sounds dismissive, it's more about addressing the elephant in the room. To give some context, these are both types of games that I love, and the end product here has done a pretty good job of bringing them together. The exploration is pleasantly open - gatekeeping is typically done less by specific items and abilities, and more by just which areas you're brave enough to poke your head into. It's a little bit of a shame that most of the new abilities have to be switched out for others rather than adding to a core arsenal of moves, but at the same time its base setup gives you plenty of ways to deal with any number of combat scenarios. This is of course best demonstrated by the boss encounters, which are wonderful affairs - big, gruesome, thoughtful variations on approaches to combat, which drop in at a nice pace to keep you from ever getting too cocky. The theming in general is wonderful, and the name is certainly appropriate - there's a lot of deep catholic inspiration in its gorgeous backdrops and environments, but then layered on top are some chilling elements of religious iconography, along with a cast of disturbing devotees and martyrs to sufficiently unsettle you. It's arguably a small intersection of the gaming population that it'll appeal to, but if you're in there, it's a real treat.

Death Come True

The first thing you see upon starting is the game's central character breaking right through the fourth wall to tell you directly not to stream the game or to share anything that might spoil the story. The first rule of Death Come True, and so on. I consider myself fairly well versed in such etiquette, so to then have the screenshot function entirely disabled for the whole game felt a little like being given a slap on the wrists for a crime I had no intention of committing. I don't envy the team trying to market it, that's for sure.

The reasoning behind this is clear at least - it's a game that is in total service of its plot. Consider a mash-up of a 'Choose your own adventure' book and a series of full-motion videos, and you're mostly there. Unless you were to walk away from the controller or perhaps fall asleep, there seems very little chance that your play time will deviate from the 3 hour estimate - which will certainly put some people off, but is understandable given the production values, and personally, quite welcome in the first place. In terms of replay value, there are branching paths that a single route will obviously skip: as an example of this, in looking up a screenshot to use in lieu of taking my own, I found a promotional image of the central cast, only to not recognise one of them at all. One thing that such a short run-time does ensure though, is that minute-for-minute, there's plenty of action; without wanting to speak about the story itself (rather than in fear of reprise for doing so, I might add), it kicks off with plenty of intrigue, shortly thereafter switching to full-on action, and then strikes a pretty fine balancing act between the two for its run time. It doesn't get quite as deep or as complex as I would've hoped given the team's pedigree, but I do like it, and think it'd actually be a pretty fun title to play with folks who normally don't concern themselves with games. By the same token, it's probably not for the 'hardcore' types looking for something to string out over dozens of hours.

Persona 5: Dancing in Starlight

After the generous main course that was Persona 5 Royal, I figured that I'd follow up with dessert. I did however wait until a weekend where I knew my girlfriend would be away, so as not to trigger any unpleasant flashbacks to looped battle themes, and the chirpy, indecipherable voices of Japanese schoolkids that made it so painful to endure as a non-gaming cohabitant.

Immediately, it's clear that very little has changed since Persona 4's take on the rhythm action genre. The core game, while still functional and fairly enjoyable, hasn't changed a lick. Perhaps the most notable improvement to the package as a whole is in scaling back on a dedicated story mode, and instead just having a series of uninspired but far less time-consuming set of social link scenes that pad things out. The biggest flaw is repeated wholesale though, in that trying to stretch out noteworthy tracks from a single game's playlist into a dedicated music game leads to repetition - and there is a much less prolific gathering of artists involved in remixes this time. I'd be willing to wager that it's a very similar story once again with Persona 3: Dancing in Moonlight, but I'm not about to ruin a perfectly good dinner to start with the sweet just to find out, if you'll excuse a second outing of the metaphor. Still, again compare these to Theatrhythm though - where Square-Enix plundered the Final Fantasy series in its entirety, along with spin-offs and other standalone titles to put together a library of music worthy for the one single game. Cobble the tunes from Personas 3-5 together into one game, and you're still coming up very short by comparison.

#trials of mana #seiken densetsu 3 #sayonara wild hearts #twinkle star sprites #blasphemous #death come true #persona 5 dancing in starlight

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kierongillen · 5 years

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Writer Notes: The Wicked + the Divine 41

Spoilers, obv.

After last issue's formalism, this one just accelerates. And, as everything in this arc, everything is a big beat. If everything is a big beat, how do you choose what to spend your space on? What beats really matter? How do you pace it? What can be a grace note and what's a scene? That's what this issue, and the rest of the arc, tends to be about.

This issue has gone down very well. I'll admit that while I absolutely gasped when I got paged in, I suspect it's going to be least favourite of the whole arc. That more says how much I enjoy the rest of the arc. Also, as a friend put it to me, I may be allergic to making people happy.

Let’s get on with this.

Jamie and Matt's cover:

There is, to some degree, a "Who hasn't had a headshot cover?" to this arc. As such, Mimir finally gets his. This is a glorious one – the pinks and blues, work really well, and the circuitboards frame it well. Obviously, Mimir plays a big role in this issue, so it is thematic. As is…

Paulina's cover

I just love Paulina's covers, as her being the regular alt-cover artist on Thunderbolt should imply. This made me want to immediately pitch a kick-ass pop D&D bard comic to someone, Xena Warrior Princess as produced by Xenomania. The names of the swords are the chef-kiss, but there's so much to love. The expression is everything.

Page 1

One page scene, with a modified nine panel grid. The one page scene is something that happens a lot this arc. I did a two-page version, but with the right seven panels, we're sorted. Yes, this is all we see of the de facto antagonists of the series this issue – when last issue was all about them, it doesn't worry me too much.

Page 2

Standard music journalist concept. That the second album tends to be worst than the first. Hard to prove, though my old friend Peter's note that "you have your whole life preparing for your first album and have a year to do your second" does seem to imply an easy explanation.

Page 3-4-5

Stealth mission! It's Metal Gear WicDiv!

We actually forgot to add the flashes to the first panel until the very last minute. Monthly Comics is a hell of a time sometimes, stress the “hell.”

I love the determination of Laura in the second panel of 3. That's great eyes.

Looking at this now, that "I can't do much now" is in a panel smaller than 1/9th of the page says a lot about the scale she's working on. The background was Matt in full trippy mode – I had a friend note that this scene is a little akin to Kohl in Rue Britannia 5 (The difference being Kohl is using nostalgia for a performance, while Laura is just doing a performance) but the moving squiggle does remind me the use of optical illusions in Phonogram 3. Bugs in the optic nerve are our friend.

Panel 3 on 4 is obviously Clayton living large and conquering. When you ask for something like "Can you sample the background and use as a speech balloon" you have no idea if it's going to work.

We could have divided the middle panel into two, but I suspect it'd have been less effective. We've seen the trick before. Now we see the same trick, but different. Mix it up. We're performers.

Hmm. I realise the Norns string of balloons is something I'm doing more often now – it's not something I've always done. I'm normally a one-panel-one-emotion, which strings of dialogue rarely allow (as, if there’s any change of emotion inside the string, the image is rendered ludicrous). In a middle shot, and a strong emotional throughline with the dialogue and I'm more okay with it.

While this whole three pages is an action sequence, it's also exposition for Laura's current state. The best exposition is demonstration, I guess.

I mean, the last panel of page 5? That's how cut to the bone we are. Problem? Solve it. Problem? Solve it. We don't need to fuck around anymore.

Page 6-7-8

And after six whole trades, the reunion between Lucifer and Laura. I suspect a different writer would have played this bigger and more melodramatic, but when the reader knows this, a splash feels overkill, especially with the taut pacing of the rest of the issue. However... there are five panels here. That's a page's worth of content, and enough to give an emotional throughline.

Sometimes when writing it's all about trying to find an honest response which is also unexpected. Like, in life, you think you'll feel sad or happy at certain times, but when you live through it, you don't. Or you don't entirely. What other stuff is happening? That's what rings true to me.

Anyway – that's where Laura's Guilt comes from. Laura at her most Dionysus.

And then Lucifer shatters all that self pity with the wink. Did you miss me? Of course, you did.

Page 7, panel 4 is one of those "a comic panel is not a moment in time" bits of magic McLeod always talks about. As in, as we read across the panel time progresses. The Mimir/Cass conversation is getting on for... 10 seconds, maybe? The teleport signatures do not take that long to appear. It's only with Laura's interruption that panel kicks into high gear.

As Multiversity noted you can easily imagine another draft of this with a bigger fight scene. And it's true – but also lying around was a version which cuts it even shorter. Do we need to really give a whole page to Cass breaking out? I felt so. Without the big beat, it feels flat. And it's good to see Cass let rip.

The slight angle on Jamie's external shot with a Norns black/white plus golden thread from Matt is really interesting. We don't often see the Norns as combatants in WicDiv, so this is a rare chance to give Cass a "Hello, I am a bad ass too, in case you've forgotten."

Page 9-10-11-12

Cripes. Going this and making notes I can't believe how tightly we're winding this and (more so) getting away from it. We did all this in four pages?

Two panels to the escape – the right image and a handful of taut captions to hold you between scenes. The first is doing a lot of work, but the second is just elegant. What do you need but the broken doors? Great stuff by Jamie here.

(Laura's captions do a lot of work here in setting up the themes, and the return of Sakhmet's memory to the story)

If you're wondering "How on earth could we get the escape be quicker, it's to take the first two panels on page 8 and move to the previous page. That makes it a five panel page, which is entirely do-able. That's a cost, but it would have bought slightly more space in this scene. As it is, I preferred to cut mid-page and end with Lucifer's first spoken lines in ages.

Once more, a big reveal in a small panel. Chrissy's note on the script was basically hearts for Luci at this point. Like, the second she cuts to the chase and tell s people what to do...

...and then the page turn, and she just goes full Lucifer. I know you lot have missed her, but I have too.

Getting back to Inanna was also easy, the sweetheart... but it all leads back to Sakhmet. That Mothering Invention was as tight as it was didn't leave much room for Laura to think about Sakhmet, or mourn at all... or, most of all, make it clear the story (and Laura) considers her loss important and real. It's an awful sad panel at the end of the page.

Inanna's voice was easy to find again. He's such a sweetheart. Tara is a little harder, just as I wrote her less, but I've been fascinated by this arc in terms of writing her as an actual character. I think one of the ironies of issue 13 was that it put Tara on a pedestal, and the pedestal is an objectifying as any other cage. Getting her back as a character is wonderful, and she gets to be as messy and flawed as everyone else.

Inanna not knowing ANY of this is hard. That's the problem with most of this arc – there is so much information flying around, and secrets some (but not all) are aware of. Who gets to respond to what and when? What to remind people of? What to let slide? Inanna not knowing about Baal is so huge it had to be hit and hit hard.

And then... the bodies.

When plotting this and trying to work out how I could get the cast – oh god, this is not a deliberate pun, but it's also clearly a pun - back on their feet, I was thinking of the Morrigan Gambit. Three heads, three bodies. Perfect. Then I remembered Mimir, and swore. I started to think about how that would be a tense, dramatic situation and how the personal politics could play out and I realised that Tara would just turn it down. I then realised that's exactly how the scene would work too.

(In a "tightness" thing, I suspect in another world, this scene would have been two pages. The "and Tara then just butts in" is the key thing, but you could get the timing a little more intricate to sell the moment more – still, even in this page, I could have extended it more, but seeing Tara's elaboration and everyone else's response to it was just key work for them all.)

In passing – Mimir's glowing in the dark in the penultimate panel just wonderful. Nice work Jamie and Matt.

Page 13

From the Sisters of Mercy's song, Marian.

Page 14-15-16-17

Here's where you talk about spending space. What's important here? You need the scale to show what Baph has been doing – and Jamie turns it into something astoundingly gothic. The use of blacks, the use of light and shade. Just the right level of suggestive. It’s one of my favourite bits of composition in the issue.

As the pantheon are getting back together, this leads to an increase in crowd scenes, which are the eternal artist killer. As such, I'm looking for solutions which only involve the absolute minimum of the cast in a scene.

Thee was an awful moment earlier in the issue when I went – wait! Do I have too many heads to carry? Then I realised I was fine. That said, finding places to put them down so we can have chat scenes was also somewhat tricky. The shelf turning up on page 15 is an example. Clealry Baph planned to (er) have a place to keep heads.

Well, I say, Baph, but it's clearly Nergal now. The road from early Nick Cave to late Nick Cave has been a long way. It's a great shot.

To go back to the space, why spend it on this? We’re reintroducing Nergal and Morrigan, and we’re also showing the scale of them in the plot, and the actions of Nergal. Where we go with the bodies is such a big beat, it needs to come from something similarly large. That’s also the reason why so much (relative in the issue) space is spent on the Morrigan/Nergal scenes. Of course, it’s also a key scene for this subplot, so demands space for that. It’s rarely just one reason. Probably a useful time for my usual “these notes are only ever a selection of thoughts.”

This is also a serious pose panel by Jamie.

The “I could bring her back.” He’s an underworld god too. If she could do it, he could. This is something which I suspect some people thought implicit in the old scene, but the final manipulation of Morrigan is unpacked at length in the nine panel grids.

Nine panel grids are a natural rhythm for this – when I was planning the later bit the triple-goddess of it made obvious sense, so it expanded to the whole scene. Also, the cropped image reduces the possibility of a Jamie crowd scene.

I always thought that, given the amount of time the various characters get on film, Ladyhawke could more accurately be called Blokeywolf. I digress.

Page 18-19-20

As said earlier, the triple-goddess to nine panel grid is one of those natural ways to give a stress to each of the elements. You’ll notice the clicks are left then right then centre. I’d originally written it as left to right, before – after Chrissy’s Editorial urging – rewrote to end with the Macha section to go last. Gentle Annie may have been the kinder part of Morrigan, but Macha was the part he mostly dated.

Then, in a moment of weirdness, Jamie actually drew it in the original order, despite never having seen that script. Morrigan has powers, as does the logical necessity of a left to right panelling order. As a nine panel grid, just moving panels around to fix it is easy. Hail grids!

Like most of the big acts of magic, it’s all about emotional sense than anything else. Hence, it is inevitable as Nergal actually does this, the bleak temple he’s constructed starts to crumble. And, in perhaps the most ludicrous bit of me in the comic, The Temple Of Love Is Falling Down. Too much is the bare minimum.

Jamie’s triple-portrait of the Morrigan is pretty startling. I have no idea if Jamie will miss drawing Badb’s hair, but I’ll miss seeing it.

Re-reading this now I’m struck by how low-key it is. That was always part of WicDiv’s magic – the finger click, and then things happening. The Morrigan transformation was usually drawn to be instantaneous – one panel Macha, the next Badb and so on. This kind of keeps to that.

And then… the reveal. That the new bodies isn’t a splash page says everything about this issue, but it still gets the punching the air moment. We had to have one of those eventually. Lucifer in a black suit is one of the things I’ve been waiting as long to see as Nergal in his. I giggled with glee at seeing this. Jamie’s worked in elements of the Morrigan into each of the gods – Lucifer’s red hair is the most obvious one, but Gentle Annie in Inanna and Macha in Mimir also have their notes. Inanna’s netting top is the main one – and note the shapes on Mimir’s armour changing to mimic Macha’s.

Yes, writing Lucifer remains fun and easy. I recommend it to everyone.

Page 21-22

In terms of seeing chat, people responding to the small details in the issue is one of the bigger joys. That Jamie got the Inanna/Nergal hug in the background of this exchange between Laura/Lucifer/Cass is absolutely wonderful. Laura and Cass have come a long way.

This is arguably a small cliffhanger – the smallest of this arc, at least. However, it sits on the weight of the rest of the run. We’re promising a solution to one of the larger mysteries in the run, and I suspect we get by on that. Note how space is used – this is a dense panel layout, but we go to a thired of a page for Laura’s “I know how to end this” (so giving it weight” and then going to three panel page for the conclusion (which adds weight to each of these beats.) Jamie takes the framing to tight on Cass for the beat as well to sell it. Note Matt with the Norn-colouring creeping in – and how it goes from the fires in the first panel to this is just a joy.

Page 23

Interstitial, and obvious reference to the Jay-Z record, but everyone is just excitedly clapping over the adding stuff to the godwheel. Sergio outdid himself here. It’s certainly an example of how you can have storytelling and even hero-shot audience-cheers beats out of things entirely unlike a traditional comics panel. After all these issue,s we get to see something added to the godwheel. Of course people cheer. That said, as I said to a friend, “Of all the things I’ve found to torture the WicDiv readership, hope is the cruelest of all.”

EDIT: Actually, I messed up here - Jamie did the tweaks. Nice work Jamie!

And that’s it. Next up – 42, wherein questions are answered. In passing – the letters we’ve been getting are amazing. I’m going to try and cram as many as I can in the issues to come, but issue 44 will be our last one with a letters page. So that’s a timelimit if you wanna try and get in. It’s [email protected].

Thanks for reading.

#WicDiv #the wicked and the divine #writer notes

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zrbillings · 5 years

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Pokemon Sword & Shield - Review

So it’s been a long time since I’ve reviewed anything (years in fact) and since video reviews take such an exorbitant amount of time and COPPA has made Youtube this very scary place right now; I figured why not do what I know and write a review.

So with that out of the way, let's talk about Pokemon Sword & Shield. These games appear to be super devicieve you’re either in #gamefreaklied #bringbackthenationaldex camp or you’re a ‘defender’. I find that I have a bit of a unique perspective on the game so I wanted to share my thoughts. I’ve just completed Pokemon Sword, and just so you out there in internet land know my qualifications because to Pokemon fans that seems they only real way to justify having a different opinion.

I was born in ‘91

Pokemon Blue was my literal first GB game.

If point 2 wasn’t enough I collected everything Pokemon and grew up watching the show, often playing the games while I did.

I’ve completed the National Dex

I’ve completed the Kanto Dex like 3x over.

And I’ve played various other spin-off games i.e. Colosseum, Stadium, Gale of Darkness, Trozie? Trozae?

And if you couldn’t put it together I’ve played through nearly every mainline game the only exceptions being. Alpha Sapphire, Diamond, Fire Red, Let’s Go Pikachu, Sun, Ultra Moon. Basically at some point if I owned one version that’s all I needed.

Okay! So with all that out of the way, let’s talk about these games. Plain and simple if you just want to know if it is actually bad, no it’s not, it’s good, one could argue great, I wouldn’t, but you could. If you like Pokemon, get over the National Dex and “It ShOuLD LoOk BEtTeR” and play it, it’s fun it’s Pokemon with some new gimmicks. 3 out of 5 I guess if you want to be critical. Okay so for the rest of you, the ones who are more critical and want to know what SUCKS, and what ROCKS. Keep in mind going forward I’m not addressing the whole stupid delemma of cut Pokemon or graphics, at least not in depth, you want to talk that crap just @ me I’ve got the time. So graphically it is undoubtedly the best looking in the series you literally cannot argue that, should it look better? Well, I don’t know, I think to expect it to makes you look stupid no matter what reasoning you want to bring to the table. Pokemon has literally NEVER shown interest in pushing graphics, they’ve almost never made massive leaps forward, the amount of times they have can be counted on one had, so to have expected more that’s on you, not them. I find them to be gorgeous, yeah there’s things here and there that could be better, but if you go looking for a problem in anything you’ll find it, you could find ugly stuff in Skyrim too, or even Final Fantasy 15. Characters are definitely more expressive than they’ve ever been, the towns are stunning and I feel unlike some of the more recent games definitely come off as more memorable even if you can’t name them, you can instantly picture them. Animations, while I totally agree should be better, shouldn’t have been expected to be more than they are, again this is Gamefreak they literally improve at a snail’s pace justified or not. That being said, while Pokemon aren’t particularly animated in battle, the game overall is the most animated in the series, and here’s why. Again characters are far more expressive, and are constantly moving even in battles when a Pokemon attacks the trainer makes an action, you have overworld Pokemon, you have each and every Pokemon able to do a handful of different animations in Pokemon Camp. You have the world itself that is filled with movement i.e. NPCs, scenery here and there, a good example being the town Ballonlea the Fairy-Type gym location in case the name doesn’t sound familiar. So yes while the animations aren’t particularly impressive, I would say they’re still the best in the series AS A WHOLE (can’t believe I need to specify that). The big draw of this game is the open are called The Wild, this is sort of what people who hate these games wanted an entire game to be like, but better. And I think while they could be bigger, they feel the right size in correlation to the size of the rest of the map, there’s plenty to explore and it is genuinely fun to roam around in especially online. That being said, the game definitely (at least for me) chugs a bit while online, but I wouldn’t say it ruined the experience at all for me. It was so cool to see other players setting up camps and running around, I will say however that while these things are cool, they could have been developed further. You can’t interact with these players if you engage with one they just give you a stock response and then hand you some sort of cooking item, which okay getting cooking items this way fantastic! But why not let trainers customize their greetings? A little especially while in camps? There’s just more they could have done here, I can understand not wanting to create a system where interacting with someone dead stops them in place in order to trade or whatever, that could get really annoying. But I find, there’s not enough here that really push this feeling of a shared space, like why not have brought back Secret Bases again? And had your friend’s bases show up that way if you did want to hang out and chat (through the terrible Nintendo App, or whatever superior option) you could! Like can you imagine? Instead of just having to camp outside and hang out with friends having like your own space to hang out, battle, trade. You could have made this space like an area where if you interact with a trainer a menu for those sort of things could be triggered. The Wilds overall are fun and they’re cool to explore for new Pokemon, I just feel they could have been experimented a little more with. I won’t prattle on any further, but just saying I’d love to see Gamefreak take this and push it harder next game. As an ending note I do fine the placement of The Wilds fine, at first it looks odd, but once you start playing given it’s function it makes sense, I think if the whole game were The Wilds like some people desperately want, you’d run into a lot more problems, with things like trainer placement, and how to limit progression, not saying it can’t be done, just that we’re a ways off from anything like that happening yet. I will say this though (sorry last thing I swear) I DO NOT like how the progression system of The Wilds works, the moment you enter it you can explore 90% of it, which fine, EXCEPT! The problem becomes that while you can explore nearly every nook and cranny of it you can only catch Pokemon in designated areas because if a Pokemon is over a certain level and you don’t have enough badges you just straight up can’t catch it. Which okay I can understand, but then I SHOULDN’T EVEN BE ALLOWED THERE! For example (and why I’m bringing this up) there is an area where you must cross a bridge to get into the next section of the lands, cool I think this is great it visually queues us, “hey this is a different section so logically the Pokemon will be stronger here.” The problem! Is while we in theory can piece this together literally nothing stops us from crossing, the reason this bothers me is because on the literal otherside of the bridge is I SHIT YOU NOT a MF Snorlax! Just chillin, doesn’t wander just stands there, while okay this is a great reference to other games. WHY WOULD YOU NOT! Just put him sleeping on the bridge like in every other game in this scenario, it bars the pass and players don’t waste their time exploring an area before they can get the most out of it. Plus! This game rewards you special Acorn Balls at each Gym, if you don’t know what these are they were in Gold and Silver they’re special Pokeballs that in this game are one of a kind that have awesome effects, the one I want to reference specifically here is the Heavy Ball which works better the heavier a Pokemon is i.e. “this ball was invented for catching Snorlax.” So it baffles me how Gamefreak didn’t do something like the last Gym before you’re able to wake up Snorlax and pass the bridge allows you to get a Heavy Ball thusly not only letting you finally progress into this new area, but also gives you an item as a sort of reward. Wow, sorry moving on. I find where this game really misses the mark is the story and the characters, outside Hop (who is insufferable early on) are really bland and sort of lackluster. I feel like this is a bigger thing to be upset about than animations and Pokemon count. Hop is one of the only rivals to truly go through a character arch which is amazing! He goes from this arrogant, insufferable, condescending, ass, to someone who just wants to be the best, but doesn’t act like he already is, he knows where he’s at and strives to be more. This huge development really, really shows how poor the rest of the cast is, the professor this time is boring, not even a professor really at least not like were used to. The champion is fine, but lacks any real charisma like the game wants you to believe he has. The other rival Bede is...under utilized? Like he comes around and it’s like, “finally! Gary Oak 2.0!” and he just sort of disappears about half way through the game and then pops up at the end. I’m not going to go through the whole cast, but everyone is more or less this same sort of doesn’t bring much to the table. As dumb as Team Yell are I actually like that they’re not the evil baddies of the game, they’re not even Team Skull level, they’re just kind of a bit of inconsiderate fanboys, they work well as a level progression block? System? Their use for impeding your progress until you’ve done the right thing works well is what I’m saying. The big thing with this game is it really lacks an evil team, it’s like The Aether Foundation all over again, except infinitely worse, while The Aether Foundation sort of slowly unravels at some point, the ‘evil team’ or in this case just two baddies, kind of feels like it comes completely out of left field and only happens because Gamefreak wanted a cool way to introduce the legendaries. It just felt super random and unsatisfying and that the motivations really didn’t make sense and happens right in the middle of the Pokemon League so it kills all momentum, and any tension the league did have. Which is another thing the league is shit, it’s bad, the idea is really good, it’s inspired by the show it feels like a proper tournament, but since you can heal and swap out Pokemon between each match there is 0 tension, and since the story just decides to interrupt it, it just doesn’t feel satisfying. Beating the champion doesn’t feel like an accomplishment because you’ve already beaten the big baddie just before him, and all the other trainers before him in two different sessions, it doesn’t feel like you went through this gauntlet of really tough trainers to reach him and prove yourself, it feels like no matter what you were always going to beat him, the game did literally everything it could to make sure you beat him! I felt fucking bad beating him, because it was so easy, I literally gave him a handicap, I used 0 healing items and beat him with two Pokemon to spare and that was also because I gave him another handicap where I didn’t switch out once I threw out a Pokemon! Gyms are back, but they kind of feel like they belong in Sun and Moon because you have to do ‘missions’ before each one before you face the leader which is fine, but I personally could have done without them, for the most part they're just glorified obstacle courses. I guess they feel like the same old stuff, but I think it’s the nature in which they’re handled that actually bother me and less of having to do them myself. I think in a way given how this Pokemon League is set up it would have made more sense to just completely do away with them, maybe put something else there in its place. The gym leaders are all really colorful and actually really well designed, they all have their own very defined personalities which is cool, It would have been cool to have actually seen more of them somehow. The last thing I’ll talk about as this review is already overly long is Dynamaxing. It’s fine, I will say that if it were up to me I would have changed how it’s handled, I think the raid battles are great, they’re really fun they make grinding for levels a fucking joke and I love it, it helps you find really cool Pokemon and strong Pokemon for your team it makes Online feel like there are actually other trainers out there in the world taking on this gym challenge besides just you, it’s cool, but I feel outside of the raids there really pointless. Each Gym Leader uses it always with their last Pokemon, and it never feels like it matters so long as you Dynamax yours at the same time and have type advantage it’ll feel like KO-ing any other old Pokemon except it’s big af.If it were me I would have changed it to Mega Evolutions, because they actually feel like they matter and then they could have introduced new megas and I’ll do you one even better! What about when after you beat the Gym leader they gave you the same kind of mega stone that they used! Maybe in place of TMs, or in conjunction with them rather than them giving you Gym uniforms you’re never going to wear. That’s more short and sweet two cents on the Dynamax system, it’s great for raids pointless for everything else. Kind of like the clothing in this game, and that’s all I’ll say about the clothing that and I think the uniform thing was dumb and should have only been used for the Pokemon League rather than every single Gym battle. And that’s it! That’s my very thorough review of Pokemon Sword & Shield. Like I said at the beginning, these games are fun no doubt, but they definitely aren’t even in the top 5. I think there’s a lot of wasted potential or cooler directions they could have taken these. There are definitely cool things like the different gyms for the two versions, The Wilds are fun to hang out in and run around, the new Pokemon are actually really cool, I love that they added more regional variants and not just for Kanto Pokemon, the towns are very visually memorable. But outside that, I’m kind of hard-pressed to think of much else, I can’t speak on the post-game either, but it doesn’t seem like there’s any if at all. This game simultaneously feels like the largest Pokemon game to date as well as one of the smallest.

#pokemon #bring back the national dex #gamefreaklied #pokemon sword and shield #review

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illthdar · 5 years

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11/11/11 Tag

Tagged by @silver-wields-a-pen

1. Who is your favourite oc?

To be honest, I flip-flop a lot on that one. Generally, it is the OC that is being tormented or experiencing the most growth in whatever character arc in the Illthdar series.

2. What themes do you struggle writing?

I struggle with fight scenes and romance. Fight scenes because it calls for a snappier text style that my over-wordy self has a hard time balancing. Romance because I crave a specific brand of romance that isn’t often depicted in fiction - the slow kind that builds very carefully over months/years. The sexual tension, the overdone tropes, associated with romance just kind of make my toes curl or make me want to throw books across the room and scream “you aren’t in love yet!” Writing my own version while still adding those snippets that readers crave - the glances, the fumbling, the derp - is hard for me.

3. What’s been the best thing about writing your wip?

The world exploration and the slow unfolding of events and discovery of life on in the world as a whole. I took to writing Illthdar from the perspective of an immigrant - someone who sees the new place they are living with eyes wide open and with none of the rose-tint that natives would have, as well as that naivete and innocent trust that the people around them mean well. This perspective lends itself greatly to the steady exposure to the evil that can be found under the surface of any world, but is especially compounded in the world of Illthdar.

4. What themes has your favourite story included?

The Illthdar series covers several themes: prejudice, platonic/romantic love, good vs. evil, power and corruption, survival, courage/heroism, and war

5. What time of day do you prefer writing?

I typically write in the evenings, after the kiddo has gone to sleep - which is typically around 8PM - and I normally call a quits at 10PM.

6. What’s your favourite relationship trope to write?

The comrade or friends relationship is my favourite to explore. I feel like I don’t see enough of those outside of the friends-to-lovers trope in fiction and I like to explore as many versions of it as I can.

7. What detail about your ocs has surprised you?

(Warning, these are relating largely to later books in the series) The detail about Date Toshiiro’s fingers was not something I originally thought was so important but later turned into something much bigger. Tundra’s past and his life’s mission also took me by surprise somewhat. Seth’s arc is something I don’t think anyone could have anticipated. Magnilla also takes some interesting turns. Vyxen, for me, is especially heartbreaking. Scyanatha’s progress wasn’t something I really saw coming. The same could be said for Nyima. Abaddon’s arc is hints upon hints upon hints of so much stuff that I think will be really awesome to see when it’s all laid out in the end. Zercey/Lerki/Inari have so far been largely predictable in the writing process, though there have been legitimate times where I’ve wondered about where they’re headed.

That’s just the main cast! There’s a ton of things I found interesting about the secondary characters in the series, but it would take forever to write it.

8. Thoughts on including romance in other genres?

I’m going to be real: the suspension bridge trope that’s seen in horror bothers me. Romance in horror - where X character feels forms a very quick and strong bond with Y character is creepy on so many levels, I don’t even know where to start.

9. Favourite writing snack?

There isn’t any one specific snack I’ll reach for when I write. Normally, I’ll have something before I’ve sat down so I’m not usually nibbling as I go. When I do have something, it’s usually something like a fried egg sandwich with some token bits of salad greens.

10. Favourite villain trope?

The villain in waiting. This person has been there this whole time, they’ve been bugging you forever to the point that you’ve convinced yourself they’re just there for the comedy relief but, surprise! They’re gonna cut you up and they are absolutely not sorry. This is the person who, in hindsight, you should have seen it coming, but was so long in waiting to make their move, the only emotion you have left to give is the desire to have gotten to them first.

11. Best scene you’ve written?

Without getting into spoilers for future books, the best scene is a toss up in Guardians of Las between the scene with Vyxen and Scy emerging from the forest during the battle or Tundra and Nyima’s conversation on the balcony.

Tagged by @bigmoodword

1. using one sentence summaries, can you tell me about your wips?

Illthdar: When everything defies logic and reason, nothing and no one is safe.

2. what inspired them?

A lot of things inspired the Illthdar series: common fantasy book/game tropes, classic literary works (J. R.R. Tolkien, C.S. Lewis, Lewis Carroll, L. Frank Baum, H.P. Lovecraft, J. M. Barrie...), my life as an immigrant, society today on a whole.

3. which of your ocs do you most identify with?

While not specifically my OC (she was originally designed by @guardians-of-las-vyxen), I can relate very strongly to the emotions she experiences in the series. When I write, I try to put a little of my own humanity into all of my characters, in terms of qualities, people who know me personally and have read the first book see that that reflected strongest in Zercey.

4. if you’ve ever cried while reading, which book cued the waterworks?

Honestly, nothing will crush a heart more than Pamela Denise Smart’s “Who's Afraid of the Teddy Bear's Picnic?: A Story of Sexual Abuse and Recovery Through Psychotherapy” Massive trigger warnings for anyone who has experienced childhood sexual abuse, however. An added plus to it was that it’s also a coming-out book as the author happens to be a Lesbian.

5. how do you conduct research for your wips and what’s the most interesting thing you’ve discovered in said research?

I have a terrible habit of doing things to characters first, then researching the potential outcomes after the fact. Were some of the OCs real, they would not like me at all. I won’t give spoilers, however. That said, I think this is a better way to write a bit of reality into a story: the outcomes are not pre-scripted, just as anyone’s life journey is never linear. Forcing the OCs to “deal with” whatever consequence without the benefit of having an desired outcome in mind, puts character and reader on the edge of their seats, I feel, because the threat is real.

6. thus far, which scene has been the most difficult to write?

Again, without spoilers for the future books, for Guardians of Las the hardest scene would have been the mock-fight between High Elder Culvers and High Elder Trenfal.

7. which of your ocs do you like the least?

Currently, as it does depend on who is feeding my sadism, where I am at in writing the series it I can’t decide if I hate Maraxis or Lord Rhett, the most. Maraxis is every bit the villain that you have to live with in life - which makes him frustrating to an extreme degree. Lord Rhett, on the other hand, is the self-righteous, might-equals-right, stereotypical kind of evil - the cliche villain that we don’t have to look at very hard to recognise.

8. which pov and tense do you prefer to write in?

I like third person limited. It allows me to explore the minds of different characters on a deeply, keep the cards to the plot close to my chest out of open sight to the readers, and help the readers connect to the world without a million I-statements.

9. do you write poetry?

In my late teens, I tried, but ultimately saw the paper fit to use only as kindling.

10. who is your writing role model?

Gosh, I don’t even know. I don’t think I have one. I think the narrative voice of each author has its pros and cons, so it’s hard to point to just one and say “I want to be like that.”

11. if you could give your younger writer self some advice, what would it be?

Revision isn’t a dirty word, nor is the suggestion of it a blemish upon your name. It’s a compliment; the one giving the critique sees in you potential to grow and improve. And that is worth everything.

Tagging: @aslanwrites, @bigmoodword, @english-undergrad, @elizabethsyson, @garrettauthor, @haileyavril, @igotablankpage, @imaghostwriter, @jessawriter, @kobalt-ink, @mvcreates

My questions for you:

What was the very first story you ever wrote?

What does your ideal writing space look like?

How long do you give yourself to research for your WIP?

What do you think is your greatest weakness as a writer?

What do you think is your greatest strength?

Name one of your bad habits as a writer.

Where do you find inspiration for your OCs?

What OC would like you the most?

What OC would like you the least?

Name something you do that you think no other writer does.

Have you ever done NaNoWriMo?

#11/11/11 #11/11/11 tag #11/11/11 meme #writing community #Illthdar #guardians of las #tagged #confessions of a writer #illthdar confessions

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terramythos · 5 years

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Review: Vengeful by V. E. Schwab (Villains #2)

Length: 567 pages

Genre/Tags: Fantasy, Urban Fantasy, Science Fiction, Found Family, Revenge Narrative, Superpowers, Dark, Time Jumps, Perspective Shifts, Third-Person, LGBT+ Protagonist, Female Protagonist, Duology

Warning(s): Pretty much every previous warning applies here (violence, gore, genocidal thinking, etc). In addition, there is a VERY graphic medical torture scene, physical abuse, references to rape, implied hard drug abuse, and somewhat graphic sexual content. To reiterate: NO ONE in this story is a good person.

My Rating: 7/10

My Summary:

Five years have passed since Victor and Eli’s fateful encounter, when Victor enacted his perfect revenge. He finds himself in an unusual position; with other people to care for. There’s just one problem— his pain-manipulation powers have started to backfire on him. Every few weeks, they kill him. He comes back, but the intervals between episodes are growing shorter, and his amount of time without oxygen to the brain are growing longer. Thus Victor, Sydney, and Mitch enter a desperate race against the clock to find a cure— by any means necessary. Meanwhile, a new force rises in the city of Merit. When Marcella Riggins, wife to one of the most powerful mob bosses in the city, catches her husband cheating, he burns her alive to solve the problem. What he doesn’t count on is for her to come back as an EO with a terrifying power in her grasp. Now she’s out to take revenge and all the power of Merit for herself. As Marcella’s ascension to power progresses, she inevitably pulls Victor and Eli back into their deadly conflict.

“How many of us do you think there are?” “EOs?” June hesitated. “Who knows? More than you’d think. We don’t exactly go around advertising.” “But you can find them.” The glass was halfway to June’s mouth. Now it stopped. “What?” “Your power,” said Marcella. “You said when you touch someone, you can take their appearance, but only if they’re human. Doesn’t that man you can tell when they’re not?” June’s smile flickered, and returned twice as bright. “You’re awfully sharp.” “So I’ve been told.” June stretched on her stool. “Sure, I can tell. Why? You looking to find more of us?” “Maybe.” “Why?” June shot her a sideways glance. “Trying to eliminate the competition?” “Hardly.” She finished her drink and set the empty glass down, running a gold nail around the rim. “Men look at anyone with power and see only a threat, an obstacle in their path. They never have the sense to see the power for what it really is.” “And what’s that?” asked June. “Potential.” Marcella tightened her fingers around the stem of her glass. “This ability of mine,” she said as her hand glowed red, “is a weapon.” As she spoke, the glass dissolved to sand, slipping through her fingers. “But why settle for one weapon when you can have an arsenal?”

For my review of Vicious, the first book in this series, please click here.

Full review under the cut.

I really wanted to give Vengeful a higher score. After all, the first 90% of the book is a solid 9/10, addressing most of the criticisms I had with Vicious and containing much of what I had hoped to see in a sequel. It features deeper exploration of the characters, develops intriguing themes I had wanted to see more of, and expands upon the setting and premise in interesting ways. In essence, it’s a bigger and better version of Vicious… for the most part. However, it falls apart in the ending, to such an extent that it dragged down the whole experience for me. I’ll get into the whys later. But first I think it’s worth discussing the novel in general and which parts of it did click for me. After all, I’m not lying when I say most of it is very enjoyable.

Vengeful is written and takes place 5 years after Vicious. It’s roughly twice the length of the previous entry and features an expanded cast. Three main leads from the previous novel— Victor, Sydney, and Eli— all reprise leading roles. Joining them are Detective Stell (a minor antagonist from Vicious) and two newcomers— June and Marcella, the latter of whom shows up on the cover and in most of the promotional material. I was struck immediately by the writing improvements in Vengeful— including more detailed, imaginative, and interesting descriptions. Schwab obviously improved a lot on the 5-year span between this book and its predecessor.

Basically, Vengeful focuses on where the characters have come over the last 5 years— for better or worse— and how the world adjusts and changes in the presence of EOs— superpowered humans.

Like before, the story is told in an anachronistic fashion. There is an overarching plot, but it hops around the timeline showing different parts of each character’s lives. That could be confusing, but it’s well-executed here, as it was in Vicious. Unlike in Vicious, however, this entry dedicates entire chunks of the book to individual characters. For example, the story opens up with Victor and explores him for a while, then switches over to Sydney, then onwards through the six members of the main cast. Occasionally we get guest chapters starring minor characters or “check-in” chapters with others, but for the most part it follows this pattern. I really liked this approach, because it's a deep dive into each character and their complexities and motivations. There were times I had to backtrack and remind myself what happened in previous sections, but that’s probably more on me than the book itself.

The characters themselves are interesting, and probably the strongest point of the novel. I enjoyed each to some extent. It’s fun to read a story where nobody is a good person, yet what that actually means varies quite a bit. Sydney and Eli had the most compelling stories and arcs; both dealt with identity and one’s place in life and the universe, but explored different facets of the concept. Both characters have changed a lot from their introductions, and it’s been interesting to see. Victor’s struggles and desperation are a far cry from where he finished in Vicious, so that was interesting as well. I thought June was a creative take on a shapeshifter character (more on that later), and her level of obsession with Sydney and its development over time was alarmingly relatable. While I don’t find Stell particularly interesting, I do think he was an essential perspective for the story, and he does expand the world quite a bit with his ties to EON (again, more on that later).

The (somewhat twisted) found family between Victor, Sydney, and Mitch was a big high point of the story for me; there are some indications of it in the first book, but this one goes all-in. I really enjoyed seeing these messed up people genuinely bond with each other and form a ragtag family.

There’s also some good LGBT+ representation in the novel. The relationship between Sydney and June, while ultimately pretty screwed up, is flirty and romantic in nature (and again, uh, alarmingly relatable). Victor is canonically confirmed to be asexual as well. I’m of the opinion that LGBT+ characters should hold a variety of roles, heroic and otherwise, since we’re people. I’m glad to see Vengeful make it happen.

Marcella is probably where I struggled the most (outside of the ending in general). She was initially one of my favorite characters— imagine an ambitious femme fatale turned up to eleven and literally given the power to destroy anything she touches. Her chapters are certainly fun based on that premise. However, I spent most of the novel waiting for there to be something else to her. Possibly a secondary motivation, or some kind of personal moral struggle— anything. But there really isn’t. She is just straight up a character who wants to seize power at all costs because she thinks she deserves it. Marcella is a pretty flat character, which is disappointing when she’s (1) the face of the novel and (2) in a series that focuses on moral complexity and shades of gray.

Vengeful improves upon the worldbuilding in Vicious. Before, Merit was just a generic city setting. But this entry expands upon it— especially its criminal underbelly. It also develops some setting-specific concepts. New to the story is EON, a clandestine paramilitary organization that hunts down EOs and eliminates or imprisons them. Led by Stell and built with the best of intentions, there is nevertheless a sense of dehumanization and genocidal parallels as he struggles to control the expanding organization. It’s key to both Stell and Eli’s character arcs, and there is certainly enough material to expand upon in the future.

This may sound like an odd thing to praise, but Vengeful abandons the whole superhero motif present in Vicious. Yeah, it was an interesting moral dilemma in the first novel— who’s the hero and who’s the villain— but it’s played out by now. Having a setting which features superpowers but isn’t tied down by superhero tropes is a good call and allows for more creative plot and writing decisions.

One thing I really enjoyed about this novel is how it expands upon the superpowers in creative ways. Even established characters have new and interesting developments to their powers that are still in line with previous canon. For example, Victor— whose power is manipulating pain in others— discovers he can manipulate nerves in general, and develops the ability to control others’ movements. June is a shapeshifter, but it’s a unique take I haven’t seen before. Basically, she takes on key memories of anyone she touches, which gives her enough background to convincingly mimic them. In addition, she’s a living voodoo doll. If she sustains injury while disguised as someone else, they’re the one who gets injured, not her. This is used to interesting and creative effect several times in the story.

Overall, this has the makings of a really entertaining novel with some deep character arcs and interesting themes. I should be overjoyed this even got a sequel, and for most of the novel I was. So what’s up with the ending? How could it have so strongly impacted my experience with Vengeful?

My problem with the ending isn’t that I disagree with it, or didn’t like it on a personal level. I’ve dealt with plenty of endings that didn’t go where I wanted (hell, I’ve read some by this author). But I can justify and even appreciate just about any ending as long as it makes sense with what’s been established before. Does it make sense for the characters to end up here, based on their development throughout the story? Does the ending fully realize the premise? If so, it’s an acceptable ending. Even if it’s one I didn’t picture, I can understand and even learn to like it.

That’s not the case with Vengeful. I mentioned characterization as a strong point, but out of the six members of the main cast, I’d say maybe two of them end up in places that even make sense (not even in satisfying ways, just… make sense). That means that four members of the main cast have unsatisfying or nonsensical endings to their character arcs. Considering this, is it much of a surprise the ending impacts the score so much? I finished the novel scratching my head like wow, that’s really it?

And I’ve tried to figure it out, believe me. I finished this book weeks ago and am only now posting the review. I’ve gone back and forth, tried to justify certain endings, went back to see if I missed something, but… nope. And at the end of the day, I shouldn’t need to bend over backwards to justify an ending. It should justify itself. It should make sense in and of itself.

I’ll give an example of one character, because I think it exemplifies the root of the problem. (Obviously this will be vague to avoid Mega Spoilers, but it should be obvious who I’m talking about if you’ve read the book).

There’s one character whose main conflict is they NEED to find a solution to their problem. Throughout the story they seek out and find various people who might be able to help. But nothing is working. They grow increasingly desperate and resort to more and more extreme methods to find the solution. Eventually, they find what seems to be the answer, but their hopes are dashed once again. In a moment of personal growth, this character realizes that there is no miracle coming. Since they are the cause of the problem, the only one who can solve it is THEM. They resolve to find the solution themselves or die trying.

How does this arc end? I’m not even joking— they just straight up find a miracle solution. There is some setup for it… but that setup is tied to a completely different character. And regardless, it still feels like a deus ex machina; it destroys initiative. It’s even worse because this character’s arc peaks when they realize they must SOLVE THEIR OWN PROBLEMS, then the ending hands over the solution with no strings attached. Sure, they technically find it due to their own actions, but it’s because someone unrelated to them or their arc did something. Even then, there were ways to make it work— Schwab could have drawn parallels between characters, or played up the dramatic irony. It would still be weak, but at least it would show some self-awareness. But we don’t even get that.

That’s just the clearest example. There are multiple characters whose key moments are just ignored in the ending. It would be one thing if they realized certain things weren’t that important to them, or in a moment of dramatic irony fell short of where they were meant to go. Those things make sense. But that’s not what happens— the character arcs just end with zero solution to the problems and ideas the rest of the novel spends developing. It’s very unsatisfying, and I found myself wondering what the point of the novel even was. It honestly feels like the first 90% of the book is hand crafted and polished to a mirror shine, while the ending is a first draft with minimal edits and zero continuity with the rest of the story.

It’s possible, and even likely, that there’s more to the Villains story. Nothing has been officially announced, but certain aspects of the novel just scream it to me. One of the few characters who ends in a decent place has a very “the end… or is it?” outro. There’s a 4-page short story after the epilogue that focuses on a seemingly minor character and her origins. And some aspects of the worldbuilding, such as EON, could be explored more. In short, Vengeful sets up for a book three, or even a spinoff of some sort. But even then, the character arcs still need to make sense in the context of this novel, and they simply don’t. When the main strength and focus of the novel is characterization, the ending HAS to realize that potential. Vengeful doesn’t, and we’re left with a confusing and disappointing conclusion.

Feel free to take this review with a grain of salt— from what I can tell, Vengeful was critically well-received and a lot of people enjoyed it. Perhaps there really is just something I’m missing. But the ending was enough of a disappointment that it affected the whole experience. It was especially disappointing to me coming from an author I really enjoy. Perhaps there is more to the story, but it’s going to take a lot to win me back on this one.

#7/10 #taylor reads #taylor reviews #this was a tough one...

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less-than-hash · 5 years

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Endless Night Class

If you’re interested in studying game design, Atlus has provided a rare (possibly unique) opportunity in their Persona Endless Night Collection.

Be warned: I’m about to spend a lot of words advocating that you acquire, play extensively, and critically examine their three Persona dancing games. I’m in no way associated with (and have never been associated with) Atlus. Nor am I an evangelist for any of these three games individually (though I do enjoy them). Taken together, though, I think they prove both fascinating and illuminating, and it’s rare to find a series as odd as this collected like this.

I provide some possible alternatives for similar exercises at the bottom of the post.

For the uninitiated, Atlus released a beatmatch game for the Vita a few years back based on the fourth of their teenage dating-sim slash Jungian dungeon delve Persona games: Persona 4: Dancing All Night. (I’ll be calling this P4D.)

I’m personally a big fan and played the crap out of it for months. Which is not to say that it’s without some pretty significant flaws.

A few weeks ago, they released their follow-up(s), Persona 3: Dancing in Moonlight (P3D) and Personal 5: Dancing in Starlight (P5D).

The fact that any of these games exist at all is pretty weird. They’re beatmatch games that serve as spin-offs (and in two out of three cases, sequels) to narrative focused hundred-hour RPGs, each themed around dancing, despite the fact that dancing is in no shape, form, or fashion important to the core games.

Stranger still, the two new releases are essentially the same game from both a systemic and narrative perspective. The characters are different, the music is different, the UI is different, but essentially everything else - the mechanics, the UX, the inciting narrative, the way story content is accessed, the loot - is exactly the same.

Essentially Atlus made two games worth of content for the exact same “engine” and released them at the same time. It’s a little as if Fallout 3 and Fallout New Vegas had been released on the same day (had New Vegas not made any modifications to Fallout 3′s gameplay systems).

But here’s the kicker: for $100, you can get the “Endless Night Collection,” which contains both of the new releases and a code for the digital version of the original Dancing All Night (for PS4, if you get the PS4 bundle).

In other words, for $100 you get:

A game from mid-2015 developed for the Vita.

A follow-up to that game based on a different property developed for simultaneous release on PS4 and Vita.

A second follow-up to that game based on yet a different property developed for simultaneous release on PS4 and Vita, to be released at the same time as the above.

In addition to which, one of the two new games is a spin-off of a 12 year-old PS2 game while the other is a spin-off of a game that released last year.

That’s a whole lot of design from a whole lot of sources over a pretty long time kind of piled up on top of itself.

To an extent, that’s not wildly different from, say, being able to purchase a Witcher 1, 2, and 3 bundle. But there are a few other things that lend these particular games to study:

There’s minimal change in the basic gameplay systems, allowing you to focus on what things the devs decided to alter between games.

The games can be approached almost entirely non-linearly. You will miss nothing by not playing them in the order they were released. You certainly need not play them in their numeric order. Even within the games, the narrative and songs are released in a fairly non-linear order. (This is less true in P4: Dancing All Night, but that’s part of the point of this exercise.)

The gameplay loop can be approached in chunks as short as five minutes.

Due to the confluence of the above, you can easily and comfortably jump back and forth between all three titles.

These games marry narrative-focused properties to a traditionally narrative-light genre.

All that said, here are a few things to keep in mind:

The games are not wildly accessible to those with difficulty hearing, seeing, or performing quick finger movements.

Having a working knowledge of Persona 3, Persona 4, and Persona 5 will dramatically deepen your experience of the dancing games. If you haven’t played them (which is reasonable - that’s a roughly 300 hour and $120 investment for all three, and Persona 3 has not aged well at all, especially from a systems design perspective), it’s worthwhile to at least familiarize yourself with their plots, themes, characters, art styles, and UI.

Possessing a knowledge of both rhythm games and music will allow you a deeper awareness of some of the gameplay changes that occur between the games.

SO, let’s say I’ve convinced you to acquire a copy of the games. What about them should you be studying as you play them?

What changes did the devs make between 2015′s P4D and the two 2018 games? What does each change accomplish? What need, challenge, or issue do you think the change was in response to?

Some examples:

P4D includes a visual novel-style story mode while P5D and P3D do not. Yet they still contain interactive narrative scenes. What do these two different presentations accomplish? Why do you think Atlus changed their tact in the newer games? For bonus points, compare against the narrative presentation in the Persona 4 Arena fighting games.

It’s not merely the mechanical presentation of the narrative content that changed between the games - the scope, focus, and tone of the two recent games is markedly different from P4D. P4D tells a single, linear narrative, while P3D and P5D seem much more interested in their casts’ varied interpersonal relationships. In the older game, the player encounters a small cast of entirely new characters. In what I’ve played of the newer games, there are no new characters at all. Consider why that is. I'm almost positive that the answers are neither “they’re lazy” or “it was cheaper” (though “the cost didn’t justify the reward” could very well be part of the rationale).

Progression in P4D is wildly different from that in P3D and P5D. Consider how this requires the player to approach the content. Think about why the devs may have decided to change progression in such a radical way.

Item progression, too, is handled entirely differently in P4D than in P3D/P5D. P4D included a currency system that’s entirely gone in the new games. Why do you think that is? Further, what types of items exist in the former that aren’t in the latter? Does the functionality of some of those item types exist elsewhere in the game? Why change that presentation? Some of these changes will feel like cuts, but I promise it would have been cheaper to leave some of these systems as they were. So if the reasoning wasn’t strictly financial, what was it?

There is a single addition to the core mechanics of the game between P4D and the new releases - the double beat. Why do you think it was added?

Compare the background videos during song gameplay in P4D to that in P3D and P5D. You’ll notice that the latter two are significantly less busy from a VFX perspective. (While I haven’t closely studied it, I suspect they’re also less complex in terms of camera cuts and camera angles.) Why do you think that is, especially given that A) games within series strongly tend towards bigger, brighter, and brasher over time; and B) the original Persona 5 possesses a much flashier visual style than Persona 4? Why are the dance sequences in P5D less flashy than those in P4D?

Similarly, passing any song in P4D got you a brief cutscene in which the dancing character summoned their persona. These are absent from the newer games. Consider why that might be. (In this case, the answer “It was cheaper” may have a lot of merit, but that’s probably not the sole reason. How do those little cutscenes at the end of each song impact the way the player interacts with the game? Especially in the common use case of the player wanting to retry the song to improve their score.)

This requires a little more familiarity with music and game design, but try to observe the ways in which the authoring of the beatmatch play changes between P4D and the newer games. The mechanics are exactly the same, but the way the devs present challenges within those mechanics are different. Try to identify how, then consider why. For bonus points, examine this through the lens of questions 4, 5, and 6 in the next section.

Much of the UI art in P4D is a major departure from that of the original Persona 4. On the other hand, P3D and P5D tend to hew much more closely to their sources for their UI art. Why do you think that is? Especially consider what’s accomplished by P3D’s emulation of a 12 year-old PS2 game. (Full disclosure: I hate it.) Strangely and interestingly, though, P3D straight up steals a bit of UI from P5D, which it takes from Persona 5. (Hint: it’s when the player is prompted to speak.) Why do you think this is? (This is a spot where the financials may have played a role. Creating the art asset for P3D to use the same UI in these moments certainly cost more than not having to create that asset. However, that cost may have been significantly cheaper and safer than changing that aspect of the UI’s functionality between the two concurrent games. Is that why it was done? I can’t say. It’s worth thinking about what the decision accomplishes from a non-financial perspective, too.)

A major change between P4D and P3D/P5D’s conversation UI is the discontinued use of character portraits during speech. Those portraits already exist for both Persona 3 and Persona 5, so why not use them?

Alright, that’s a bunch to chew on solely from the perspective of differences between the games over time.

But it’s also worthwhile to carefully consider the choices that remain consistent across the titles. These are the things the devs felt strongly enough about to hold onto when they could have changed or jettisoned them.

The controls in all three games are exactly the same (though there’s a little fuzziness between platforms where certain inputs don’t map 1 to 1 between them). What do you think the developers consider so successful about these controls that they didn’t adjust them at all in the three years between the release of P4D and the latter titles?

Similarly, consider the control inputs chosen. Identify why d-pad right and Square aren’t used during dance play. Then consider how else the developers could have tried to address that issue. Why do you think they landed on the solution that they did?

Up at the top of this post, I mentioned that despite their overt focus on the idea and act of dancing (and the narrative’s examination of dancing from perspectives social, physical, and cultural), these are not dancing games. So why do you think these games are about dancing at all? The developers could absolutely had the beatmatch play represent something like the characters calling on their personas to battle shadows - or carrying out heists in the case of P5D. Or playing music in a band. So why the focus on dance? How does that interact with the base Persona games? Consider the role that “practice” and “training” play in both the dancing games and the RPGs. How is it reflected in the narrative of the games? How is it reflected in the way the player interacts with the game?

Clearly the player isn’t actually dancing - so what experience do you think are the devs hoping to inspire in the player as they perform each song? How do you think they wanted you to feel while you’re playing?

The audio chosen for the beat match is incredibly specific. Listen to the sound the game makes when you successfully hit a single beat. To the sound the game makes when you hit a linked beat. A sustained beat. Each of these are different, and each is immediately recognizable. Unless I missed something, none of these sounds change between the original P4D and the recent releases. (Though the new games let the player edit the sounds that play for each beat type.) Why do you think the audio team chose those sounds? How do those specific sounds contribute to the player’s experience of the game? Looking back to question 4, how do these sounds make the player feel when their actions evoke them?

Once you’ve got an answer for questions 4 and 5, consider how successful you think the devs were in evoking that experience. Which aspects of the game undermine that experience? Which support it? Are there aspects that undermine it present in P4D that no longer exist in the recent releases?

Play the game on the three basic difficulties. Are your answers to question 6 different on the different levels of difficulty?

Go play (or watch a video of) Guitar Hero, Rock Band, or one of their sequels. What sounds do those games make when the player successfully hits a beat? More interestingly, what’s the audio response to missing a beat in Guitar Hero or Rock Band? Compare that to the audio response for missing a beat in the Persona dancing games. Why do you think those teams chose those dramatically different approaches?

Carefully consider the gameplay goals and how they’re presented to the player. The player is scored numerically, but they also reside on a continuum of “approval” (presented by dancing green alien invader-looking shadows in P4D and by bar meters in the newer releases). The latter of these is given tremendous and repeated audio feedback in the form of barks from the player’s companions. Additionally, the game displays how many successful beats the player has had since they last missed one. (And look at how the game defines this - it isn’t only a Missed beat that breaks a combo, but one rated Good.) Finally, the game assigns a text rating at the end of a performance: Not Cleared Stage Cleared Brilliant King Crazy Consider how all of these forms of feedback relate to one another. Why do all of these exist? Do they need to? What problems do you think they were implemented to solve?

Really think about the numerical score. How do you think it’s calculated? (Hint: the player increases that score over the course of their playthrough - it’s not tabulated at the end based on the report card of information presented about their performance.) Note that I don’t mean the specifics of exactly how many points each beat is worth, because I have no idea what those specifics are. (I could probably Google it, but part of the point of this is to consider what the player’s experiencing is.) What purpose does it serve?

For that matter, look at the elite King Crazy rating. Consider how it’s earned (by hitting every beat in a song, including scratches, with either Perfect or Great precision). Why do you think that’s the goal the developers set for the player? And why call it “King Crazy?” (I don’t think the answer to that question is localization-related or preciousness with the original language. The two recent games are called Persona 3: Dancing Moon Night and Persona 5: Dancing Star Night in Japan. Though I suppose if preciousness preserved the term in P4D, a desire to retain the same scale might result in the persistence of the term.)

I mentioned near the top of this post that these games aren’t wildly accessible. Consider specifically what aspects of the game would make it difficult for different kinds of people to enjoy playing it. If you were the developer, how might you try to address some of these issues?

During narrative segments, P3D and P5D (and to a lesser extent P4D, given its visual novel style) make a marked departure from the RPGs they’re based on in terms of perspective. Neither Persona 3 nor Persona 5 are first-person games, and the dancing segments involving the protagonist in P3D and P5D are similarly third person. Consider the first person perspective of the narrative in P3D and P5D. What does it accomplish? Why do you think the developers chose it?

Whew, that’s a lot. You doing okay?

In the famous words of Douglas Adams’s towel, DON’T WORRY. You don’t need to know the answers to all of those questions. I certainly don’t.

I’ve got pretty strong suspicions about some of them, interpretations or ideas about most of them, and educated guesses about the rest. For some of these questions, the only people who know the answers for sure are those who were in the room when the decision was made. And hell, maybe they’ve forgotten!

The point is that if you’re going to be successful in design, you should be willing to dig deep into what a game’s doing when you experience it. Interrogate the game. Try to suss out the developers’ intentions. Resist the urge to pass judgment on them - to say that their choices are right or wrong, good or bad - but feel free to consider how you might have tried a different approach.

And then consider what obstacles those different approaches might hit.

Personally (get it?), I think that the Endless Night Collection provides a really rare, interesting opportunity to dig into these kinds of questions across multiple related games. If you don’t want to or can’t look at these particular titles, try to find similar opportunities. Search for games that might provide rewarding insights through archaeological examination. Some possibilities:

You a WoW player? Find a vanilla server and take a long, focused look at the way the game’s changed since launch.

The base Mass Effect trilogy was developed over a relatively short period of time (the console life cycle of the 360), but each game plays significantly differently from the one before. Despite the fact that you’re playing the same character (kind of) in each, the stats that represent that character, the way that character moves, and the UI through which you inhabit the character all change dramatically between each title. (My Shepherd in ME1 was spec’d as a healer. Remember when an ME character could be a healer?)

If you’re into Obsidian’s games, play through Baldur’s Gate 2, Pillars of Eternity, and Pillars of Eternity 2: Deadfire and ask questions like those above of these games. The original PoE essentially sold itself as a modern BG, so in what ways did it actually emulate those old games, and in what ways did the devs decide a different direction was better? What further did they then change for the sequel to their own game?

Find those changes, those differences large and small, give consideration to what the experience accomplishes (or fails to) on either side of the change, and imagine what the devs were trying to accomplish with their adjustments.

Anyway, I should probably sleep at some point, or so Morgana would tell me.

Good luck! <#

#persona 3 #persona 4 #persona 5 #rhythm game #gamedev #gamedesign #atlus

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ty-talks-comics · 5 years

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Best of Marvel: Week of April 10th, 2019

Best of this Week: Friendly Neighborhood Spider-Man #5 - Tom Taylor, Yildiray Cinar, Nolan Woodard and Travis Lanham

Spider-Man has always been a hero ruled by his emotions. From becoming a hero after failing to save his Uncle Ben, to giving up his costume out of frustration, to feeling so much sorrow that he gives up his marriage to save someone else's life.

Right now is another one of those pivotal moments as Peter and Aunt May sit across from each other, her having broke the news that she’ll need to go through chemotherapy. Cinar absolutely nails the scene, showing the utter sadness in Peter’s face and the ever present look of hopefulness of Aunt May, knowing that she can beat the cancer.

Peter of course, tells her that he can’t make it to her first chemotherapy appointment and proceeds to run away from his problems, though he says otherwise. In his grief, he runs to clear his head and hears police sirens, alerting him to a chase in progress. He stops the chase and in anger, breaks the assailants wrist before recognizing him as a homeless kid that hangs nearby. The kid tells him that the only reason he stole the car was to get away from his mother’s abusive boyfriend.

So Peter, relating to kid’s need to get away, starts the car and proceeds to help him evade the cops. Tom Taylor really sells the idea that Spider-Man helps out those in his neighborhood. He didn’t have to help this kid and there are always bigger threats to handle, but he cares about his city. Spider-Man can swing across the city and even lift cars, but in a cool - COOL move, uses his webs to fling the car into the sky, making the cops think it disappeared. He doesn’t want to see this kid get hurt and knowing that he broke his wrist only makes him feel worse and he seeks the help of Doctor Strange.

Strange makes the homeless kid a cast and has a little talk with Spider-Man, noting his unusual recklessness. Peter unloads what he has on his mind and thinks about asking Strange to help her, but the good Doctor jokes about making deals with demons and says that sometimes things just have to run their natural course. The conversation does feel a little bit limp, especially after the emotional roller coasters that we’ve had to go through in Hunted, but also appropriate for the feel of the book especially as Peter shows up to support Aunt May with coffee and trash magazines.

These final pages hit me with how much Peter loves and supports his Aunt for all of the love and support she's given him. He knows it would have broken her heart just a little if he had missed it and her smile upon seeing him almost made me cry.

There’s something even further I want to dive into in regards to Aunt May and either direction this story can go. Do we need more of her? She’s been around for almost 60 years acting as Peter’s moral guide, support system and one of Marvel’s most powerful characters since her creation. She’s had many amazing storylines about her, around her and there are definitely many more that can be told. At the same time, because of One More Day, I’ve questioned why she’s lived this long.

One More Day is one of the more ludicrous, craptastic ways to prolong Peter’s “youthfulness” by having him give up his marriage to Mary Jane in a deal with Mephisto to save a dying Aunt May. Being married made the Peter seem more adult, more able to take care of himself, gave him a confidence that could have been better expanded on, but noooooooo. He had to get in his feelings and make a literal deal with the Devil to save a character that had already served her purpose in raising that boy.

I also think back to the emotional, powerful last moments of Spider-Man PS4, when Aunt May sacrificed herself so that New York could have the cure to Mr. Negative’s plague. Not only did it give Peter another bar to reach, it gave closure to an absolutely wonderful character. It allows for new stories to be told about Peter or new people being able to take her place as Peter’s guide with new, different perspectives.

I do think it’s time to let Aunt May rest and be with Uncle Ben. Maybe let Peter have a little bit of closure with one less person to worry about as she goes peacefully. She’s lost her husband, her charity foundation and now she’s losing her health and it’s time to stop hurting Aunt May. High recommend.

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Parting is such sweet sorrow.

Runner Up: Dead Man Logan #6 - Ed Brisson, Mike Henderson, Nolan Woodard and Cory Petit

Since 2015, a year after Logan 616’s death, we've had a multitude of Wolverines. X-23 took up the mantle for a few years, Jimmy Hudson made his way from the Ultimate Universe in X-Men Blue, heck, even Sabretooth filled in the role of Wolverine as the badass good guy who occasionally killed people for a while, but none have been as great as the Old Man Logan from Battleworld.

During Secret Wars, Old Man Logan was reintroduced as part of the Wasteland on Battleworld and fought his way out, eventually landing in the repaired 616 Universe. His initial arc focused on him trying to stop his future from happening, but between an Amadeus Cho Hulk and his own apparent death, he realized that things were different and he adjusted accordingly.

After many adventures involving saving his resurrected wife, Mariko, to joining a new Weapon X team alongside Sabretooth to defeating a POWERFUL Maestro twice, Old Man Logan has more than justified his existence in the world. However, with his failing healing factor and his longing to return to his world, Logan's been searching for a way back home and thanks to Maestro and some fixing from Forge, there's a time machine waiting for him.

This issue was just a bunch of goodbyes. He apologizes and says goodbye to one of the best men he knows in Steve Rogers, saying that he was blinded by his past with Mysterio when he attacked the Avengers a few issues ago, thinking they were villains. Steve forgives him and wishes him well. He says a final goodbye to Mariko, asking her to take care of the young kid that would be his wife some fifty years later.

The best one… THE BEST GOODBYE, is the one he makes to himself. I'd wondered when or if it would actually happen, but Old Man Logan finally meets his younger, also resurrected self and they have a beer. In a heartfelt scene, Old Man Logan wonders if he should tell his younger self anything about the future. Logan surmises that it does, in fact, go terribly and Old Man Logan just tells him, “Never stop fighting. Because the moment you put those claws away for good, that's when you lose everything that matters.” a bar fight breaks out and the two decide to have a little fun, resulting in a BEAUTIFUL shot by Mike Henderson of both Wolverines with their claws popped.

The final goodbye is to the X-Men, of course. Jubilee, Glob and Forge and I think a few others and at this point I almost want to stop reading.

It's been a roller coaster of a ride with this character and there have been a thousand teases of him returning, but now it's real. Back to the hell of the Wasteland after what I can assume in Marvel Time has only been weeks or months for him. A world where Thor's hammer serves as a grim reminder that there's no hope as people futilely try to lift it, a world where people like Doctor Doom still live and force people to fight monsters in gladiator arenas, a world where, according to Old Man Quill, has a religion of nihilists ready to annihilate planets on a whim.

Welcome back to The Wasteland, Logan. Welcome back to hell.

#comics #marvel #marvel comics #spider man #peter parker #aunt may #may parker #tom taylor #yildiray cinar #old man logan #logan #wolverine #ed brisson #mike henderson #nolan woodard

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eng-hypnosismic · 6 years

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[Interview] Kimura Subaru with Numan

You can check the original interview here

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Kimura Subaru

Born on June 29th in Germany. Trilingual, speaks Japanese, English, German.

After acting in the musical “Annie”, he worked extensively as a voice actor, narrator, entertainer, model, and a singer. President of “Theatre Company Bakabakka” since 2009. Famous cola lover.

Appeared in the anime “Doraemon” (as Jaiyan / Gouda Takeshi), the anime “Haikyuu!!” (as Tendou Satori), the movie “Kingsman” (as Gary “Eggsy” Unwin), NHK “Tanken Bakumon”, and others.

- What was your opinion when you heard of “Hypnosis Mic”?

Kimura: I remember thinking that it was an opportunity just for me in the voice acting world (laughs). I felt extremely happy and thought “The time has finally come!!” I had no idea of how many voice actors felt the desire to rap, so at first I kind of thought it was a lie. As a joke, the idea would have been great… But, I never thought the time of voice actors rapping would ever come. So it was “a dream within a dream” had come true kind of feeling.

- Rap is a style that tells about yourself, so it goes well with characters songs, however, it’s not a genre often explored.

Kimura: I think that, in that sense, when I’m singing the character song, I’m also singing as that character. I wondered why everyone [voice actors] didn’t rap until now. I think it’s a good opportunity, since you get to hear all the voice actors tap into the rap genre and many people don’t listen to hip-hop, especially a lot of females. Looking through Twitter, some talks about hip-hop are like “Writing HIP HOP* makes it seem like we’re trying to look cool so let’s put it in katakana” and things like that. Hearing everyone hesitate like that shows progress and makes me happy. It may look like I’m trying to seem superior to everyone and being arrogant, but I’m actually very happy that everyone is getting into hip-hop.

T/N: Originally in English.

- First, can you tell us the charm of Ikebukuro Division’s “Buster Bros!!!”?

Kimura: Well, unlike the other teams, we are the “three brothers”, so this alone makes the team special. Being a crew of brothers is cool in a unique way and you can see in the drama that the interactions between the three are very intimate. Since they have the bond from being together since birth, “Buster Bros!!!” has the character of loyalty which gives a sense of security.

- What were your impressions on Yamada Ichiro’s younger brothers: the second brother, Jiro, and the third brother, Saburo?

Kimura: Jiro is passionate. Since he is the second son, he struggles between being like an older or younger brother. He looks up to his older brother and at the same time acts like a good role model to the youngest; you can easily see these two sides in his character. On the other hand, the third brother, Saburo, tends to be cynical. It’s quite amusing how the brothers are so different.

- The connection between the brothers can be also noticed in their songs, the standard in Ichiro’s song, following into Jiro’s song, and putting a little classical twist into Saburo’s song.

Kimura: That’s exactly the case. Ichiro breaks through the barrier, then Jiro strikes, and Saburo cleans it up stylishly. It’s beautiful to listen to them in this order.

- Do you feel any similarities between Yamada Ichiro and yourself?

Kimura: We are both the eldest sibling. And I also want to be a loyal and respectable brother. I am a bit envious that Ichiro is naturally like that. I have a younger sister, but it’s a “you’re my older brother but it doesn’t mean you’re better than me” type of relationship (laughs), so I admire his older brother vibes.

- I would like to ask about the other divisions. What can you tell about the relationship between Ichiro and Aohitsugi Samatoki, who leads Yokohama Division’s “Mad Trigger Crew”?

Kimura: Even though in this story we are rivals, privately I get along well with Asanuma-san. There’s a gap in our roles, but because of that, we have fun acting together. Like, “Even though your character says you hate me, you like me, don’t you?” (laughs). Because of that sense of reassurance, we can battle to our heart’s desire. I was being self-conscious, but when we’re standing on stage together during the first live, there’re some lines that I was hesitant to say... So I appreciate that Asanuma-san is here. “Don’t think too much, smash!! Bring it on!!” type of feeling (laughs).

Their album is wonderful. The cast of rappers who participated was deluxe, the characters’ appearance were well done and the rappers who wrote the lyrics were able to show a lot of their own style. People who don’t know much [about hip-hop] will easily get to know the characters through the songs. On the other hand if they’re into hip-hop, they’d think things like “This is very like Uzi-San” or “these are Kuro-san’s lyrics”. This feeling will be even stronger when it comes to Samatoki’s song that Cypress Ueno-san wrote, they will probably think “Woah, these are Cypress’ lyrics, for sure!”, and things like this. I think anyone can listen to the album and understand it. I want people to try listening to the songs composed/written by UZI-san, Cypress-san and “HOME MADE family”.

If the person already knows about those things, the face of the rapper who wrote the lyrics comes up. If they don’t, the face of the character or the voice actors comes up. This is the highlight of “Hypnosis Mic” too. Everyone putting their power together to create hip-hop is what makes this world so united. I think it’s a good idea to create a song by everyone.

- On December 6th, Shinjuku Division’s “Matenrou” got very popular because of their CD releasement. It was selling everywhere.

Kimura: It’s super cool. So cool and scary! (Jinguji) Jakurai-san is the last boss kind of scary. Hayami Show-san is a good actor when acting as the character, but his rap is also extremely powerful within that group. Hayami-san’s voice and such were already great to begin with, but when he’s rapping it stands out so much. I think even a rapper would be surprised if they heard it, it’s so gangsta.

If you had to describe it by a genre, it’s like a “poetry rap” type of song. It’s poetic and its slight displacement with the music still matches the rhythm. A rap that goes off beat with the music would be difficult for beginners, however Hayami-san pulled it off wonderfully. He should become a rapper right away!

(Kannonzaka) Doppo’s (CV: Ito Kento) rap is also poetic. And then there’s, (Izanami) Hifumi’s (CV: Kijima Ryuchi) EDM-like, party-like rap… It’s like the kind of rap that you would want to listen to when you’re at the beach in summer, and bob your head to (laughs). It’s different but in a good way.

Doppo’s edgy poetry rap goes well with the background track. The part with the live drums in the back is a dry snare… just kidding (laughs)(1). The snare drum in the background sounds super cool.

- Shibuya Division’s Fling Posse is still unknown, isn’t it?

Kimura: I haven’t listen to their songs yet, so I’m looking forward to it. I’m interested in Saito Soma-kun’s rap in particular. He is a voice actor I’m familiar with, and in private we listen to hip-hop together. He, himself, has never done rap before, but I’m looking forward to how it’s going to be after listening to me rap several times. I think it’s going to be good in rhythm and high quality in general.

Also, Shibuya’s characters are interesting; an idol-like designer, a gambler, and a writer. I’m looking forward to it.

- If you got to choose, what division would you want to be in yourself, Kimura-san?

Kimura: Ah, that’s a hard choice. They��re all good!! It’s hard to choose one, I’d like to be in all of them. Or, to make a new team. I’d like to make an overseas group (laughs), a division of three people from New York called “Beastie Boys”, “Run-D.M.C.” or “The Super Cool Crew of 3 MCs have Arrived!!” (laughs).

- Would the new division be a threat to the others (laughs)?

Kimura: I mean, I want to be in all of them! Shibuya Division’s dangerous feeling is also cool.

- Since the team colors are different and they’re all attractive in their own way, the fan’s are probably like, “I think I like this division!” and can’t make a decision.

Kimura: We also do mean things. Like, which team is the best? Should we support all teams, or should we just show extra support to one team, you see.

- How about looking back at the first live at “Animate Girls Festival 2017 (AGF 2017)”?

Kimura: It was so cool! I was nervous on how many female audiences during that time would come to watch since it was hip-hop. I couldn’t imagine so many people would travel to come see us just because they were interested.

I thought that, little by little, the wall would break. But I didn’t think that it would be this big. It’s been like that for hip-hop so far. Currently, “Freestyle Dungeon”‘s hip-hop and such are popular, but it isn’t something new, hip-hop has existed for long time now. People probably didn’t listen to it because of the lack of interest or the fact that it seemed scary. Rappers have been on this path for about 30 years now.

Therefore, if we keep working on Hypnosis mic steadily like this, when it blows up, everyone will look back at how hip hop has became, and think “we have been working hard on it since 5, 6 years ago!” That’s how I imagined it’d be like, out of the blue. It’s wonderful.

I think what made the live revolutionary was the fact that the fans that gathered worked so hard and even brought pen-lights that were on until the end. I’ve never seen people bring pen-lights to a hip-hop live, so it was nice seeing everyone raising their hands with a pen-light. It should be a holiday, “The day the girls used pen-lights”. It’s good to talk about it. It’s revolutionary, really!

- It was an event that greatly moved both sides, but do you have any expectations for fans in the future?

Kimura: Hip-hop was originally people saying “I want to change something” or even bigger, “I want to change the world”. So I hope people have received that message. Hip-hop originated in the US when black people weren’t recognized properly and lived in poor conditions. They would have no money and had to handle weapons and drugs to survive. I believe the important message was “I want to change the world, I want world peace”.

So first of all, I want people to understand that message, and, to make a change as a result of it. It’s this idea that instead of screaming at the wall alone, you’re asking everyone “What do you think?”. Another characteristic of Hip-Hop on the other hand, are negative responses/comebacks like “What did you just say?”; if there could be positive reactions too like “I think so too, so let’s do it together!”, it would be nice in my opinion.

I think this reaction towards “Hypnosis Mic” is also important. A clear call and response is important, but I wish for people to voice if it’s cool or not and if it’s boring or not. It is wonderful that everyone is enjoying it. But it’s also fine if there’s something wrong. If it’s cool, I would like people to say that it’s cool, but I would also like to hear everyone’s own reactions too.

For example, if there’s a live where Matenrou is overpowering Buster Bros!!, it’s ok to call “Back off-!!” in hip-hop culture (laughs). It’s over exaggerating the way of saying it, but it’s good for guests to engage in the hip-hop culture.

- The NicoNico regular live stream called “Hypnosis Mic - Nico Rap Battle” is also a great success. What challenges would you like to see in the future?

Kimura: I hope that everyone gets into hip-hop, so it’s wonderful that this time there are quite a lot of people that have knowledge on it. Even if it’s just a little bit, it’s good to know a bit about the genre. It would be nice if people got into the “lyrics”, not as karaoke, but as “tracks”. With that kind of feeling, I hope people get to know more about hip-hop. They also introduce various rappers so it would be nice if people say, “So there are these kinds of rappers” and got into them. Also, this is the only place where you get to hear voice actors rap, so it’s interesting in that sense.

Something I would like to do… I would like to do a live on the Nico Broadcast. There are music programs that are like, “So with that said, preparations are ready, let’s sing…,” like, “Oops, I made a mistake” types (laughs). It’s also a good idea to show live images. I would like to do that type of thing too.

- On January 21st, they are doing a Nico Live to celebrate the CD releases. What are your thoughts?

Kimura: Hip-hop, as a source, is important, but, as I mentioned earlier, we want people to hear it, that’s why having the opportunity for lives in front of guests are important. The AGF event in November was very good, and there will be different members in January, that’s why I’m looking forward to it. Someday I want to do a live with everyone. And in a place where popular rappers have performed… like the Budoukan!

I hope that something like this will happen in the future. For example, UZI-san announcing the featuring of voice actors in the future or something along those lines. Such as Asanuma-san featuring on an album of Cypress-san or Kamio-san being included by UZI-san in his works. It would be nice. In that sense, I have a desire for there to be a bridge between voice actors and hip-hop.

- Kimura-san, you worked on the lyrics of Ichiro’s song “Ore ga Ichiro”. What part stuck out to you?

Kimura: There’s the similarity to the character, but there’s also the fact that it’s easy to understand and listen to it. I talked about singing poetry rap, but my favorite type is when the sound is beautiful, and when the beat is as if made for the lyrics. There’s the part where it’s easy to listen, but I also enjoy the parts with word plays.

Also, songs that you can’t just listen to once, you need to listen to it a second time to enjoy the lyrics…[but] you’d still have the same mental image as you had first time you listened to it. Plus, it’s not just the sound from the word plays, but how the meaning of the words change. When you listen to the music you don’t really notice anything, but when you pay attention to the lyrics, the “woah, really” reaction comes and there’s a clear vision of the character. Like “there’s a different meaning behind them”, or “that’s what it’s saying but that’s not the actual message” type of thing. I quite like songs like that, I’m obsessed with them.

I especially like the second verse that goes, “There are still some things you haven’t seen”, “Our motive power ends the darkness”, “Even if it rains tomorrow I believe in my friends” and “No matter what happens on the battlefield, you can’t run away”. At first you listen only to the song, but after looking at the words, you go “Ah!!” (laughs).

- Please recommend the readers of “Kodowari Girls” any artists or albums.

Kimura: There’s a popular Japanese hip-hop album by Zeebra-san called “The Anthology” and it’s probably his best album. It’s a collection of his best works from the past to the present. Zeebra-san is the founder of Japanese hip-hop, so if you listen to his work, you’ll understand Japanese hip-hop better. A variety of rappers from different genres participate so please listen to it.

Recently, I’ve been listening to the album by Gaki Ranger, “Kinky Kids”, that came out in August 2017, and also “Saiji”, that was released two years ago. Those are particularly good. There are party tunes to mellow and even some edgy songs in there. A characteristic of Gaki Ranger is their deep lyrics. Their meanings have a type of attraction, so I want you to try listening to it.

There’s also Ketsumeishi’s album “Ketsu no Polis 2”. Ketsumeishi used to rap a lot before, unlike now that he mostly sings. Specifically in the songs “Tegami~Kako”, “Tegami~Genzai” and “Tegami~Mirai”. It is a wonderful trilogy and I encourage you to listen to it!

- And finally, please show us the famous human beatbox!

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1. Kimura makes pun here by calling the drum dry and says snare at the end of his sentence, but he is actually talking about the snare drum.

#hypnosis mic #hypnosis microphone #hypmic #buster bros!!!#yamada ichiro #kimura subaru #t:interview

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